5 Continents. Cette collection par Gwyn Arch de dix chansons folkloriques peut-être petit, mais cinq continents sont représentés au sein de ces 76 pages, et chaque continent.Du Mexique (Amérique du Sud) vient de La Cucaracha (le cafard), une chanson populaire en langue espagnole avec une mélodie mémorable et Cielito Lindo qui est tré par les Mexicains comme une sorte d'hymne national alternative. Le continent africain est représenté par une chanson à partir de la Tanzanie, Malaika, et une autre Afrique de l'Ouest se réjouir dans le titre Jikela Emaweni hamba sia. Les deux chansons ont été associés à la célèbre chanteuse sud-africaine et militant des droits civiques Miriam Makeba, et de nouvelles paroles (en anglais) ont été fournis par Stuart Smith. En Russie (Europe) musique folklorique est étroitement liée à la vie du village et ses traditions. Kalinka est la rêverie d'un jeune homme sous un pin, tandis que le bouleau Little était un symbole de la beauté en Russie soviétique. Le quatrième continent est l'Asie. S'il ya une chanson juive connue par les Juifs et non-Juifs, il doit être Hava Nagilah. Tum Balalaika est également un traditionnel yiddish, mais il est d'origine juive russe. Le Folkmusic des Maoris de Nouvelle-Zélande (Océanie) est principalement associée à la guerre chants appelé Haka, mais Hine e Hine et Pokarekare Ana révèlent l'influence des colons milieu du 19e siècle britanniques. / Voix Elevée(s) Et Piano

Après un long moment passé à écrire uniquement pour piano, Schumann a produit une explosion véritable de lieder, inspiré par la poésie de Heinrich Heine: 'Qu'est-ce une bénédiction, il est, d'écrire pour la voix' Schumann a écrit à sa bien-aimée Clara. C'est comme si un noeud a été dénoué, alors qu'il a été écrit Heine-Liederkreis, op. 24. Rétrospectivement, Schumann a écrit que ce nouvel esprit poétique avait inspiré la composition de lieder à un tel point qu'il était devenu le seul genre à faire des progrès significatifs depuis l'époque de Beethoven.En effet, ces neuf chansons, qui représentent le seul paramètre complète du cycle de sous-jacent Heine, est venu si près de l'esprit du poète qui une nouvelle époque de la composition a été fondée menti. Cette nouvelle édition de la première collection de Schumann de lieder est basée principalement sur la première publication en cours d'examen du manuscrit autographe.- Toutes les chansons dans leur tonalité originale- Complète avant-propos (Eng / Ger) et critique commentaires (Ger)- Comprend une traduction en anglais des textes lied de Richard Stokes (Le Livre de Lieder) imprimé séparément / Piano Et Voix / Partition

La plupart des enseignants de la voix et des chanteurs préfèrent toujours la pianistique, merveilleusement gratifiante arrangements de ce matériau italien début faite par Alessandro Parisotti dans les années 1880. Cette nouvelle édition, nouvellement fait des recherches et gravé, comprend l'original Schirmer 24 'plus quatre chansons supplémentaires : Sento nel core (a. Scarlatti), O leggiadri occhi belli (anonyme), Intorno all'idol mio (Cesti), Delizie contente, che l'Alma beate (Cavalli). Avec IPA, mot pour mot traductions et des informations historiques sur chaque chanson et compositeur. Le CD comprend des accompagnements piano et enregistré des leçons de prononciation / Chant Et Piano / Partition + Cd

The Singer's Jazz Anthology is an exciting new series providing aspiring jazz vocalists and pianists with staples of the jazz repertoire. The singer's portion, matching the original sheet music, is paired with fresh, unique accompaniments arranged in an authentic jazz style and designed to enable the singer to sound like they're being backed by an accomplished jazz pianist. The accompaniments can be performed as written but include chord labels for pianists who are comfortable playing their own chord voicings. This book also includes access to recordings of the series arranger, Brent Edstrom, playing the piano accompaniments for use in rehearsal or performance. This edition features 25 must-know pop standards, including: Alfie · Blackbird · Bridge over Troubled Water · Dream a Little Dream of Me · Every Breath You Take · Fire and Rain · Goodbye Yellow Brick Road · Isn't She Lovely · Rolling in the Deep · (Sittin' On) The Dock of the Bay · Three Times a Lady · What the World Needs Now Is Love · Yesterday · and more./ Recueil / Voix Haute et Piano

Par STRAUSS RICHARD. This new practical edition of the 'Vier Lieder' ('Four songs') Op. 27 for high voice is based on the text of 'Richard Strauss Works ' Critical Edition'. The lyrics were translated into English by John Bernhoff. Beginning with op. 27, Strauss turned to settings of poems by a new generation of lyricists of his age with whom he was sometimes in personal contact (Karl Henckell, Heinrich Hart, John Henry Mackay). The four songs 'Ruhe, meine Seele!' ('Rest Thee, My Spirit!'), 'Cäcilie' ('Cecily'), 'Heimliche Aufforderung' ('The Lover's Pledge') and 'Morgen!' ('Tomorrow!') are among the composer's best known and most popular songs, which is why he later arranged three of them as orchestral songs. At www.richard-strauss-ausgabe.de you will find supplementary digital content for the Richard Strauss Edition (published by the Bavarian Academy of Sciences and Humanities, Munich, under the leadership of Hartmut Schick in cooperation with the Richard Strauss Institute, Garmisch-Partenkirchen). All songs in this edition are in their original keys./ Répertoire / Voix Haute et Clavier

High voice book downloadable backing tracks. Par . for high voice and piano This beautiful collection of 14 songs for high voice offers secular pieces by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Lily and the Rose' and John Rutter's 'A flower remembered', this is the perfect collection for use in recitals or for enjoying at home. Also available in a volume for low voice and piano. / Date parution : 2021-11-03/ Recueil / Voix Haute et Piano

The Boosey Voice Coach is an entirely new concept in vocal training. Not a self-teaching manual, and not filled with off-putting diagrams, this series is a wholly practical guide to singing - learning about technique and interpretation through the repertoire itself. Each volume is devoted to singing in one particular language or to singing in a specific context. In each volume of the series, works from the vocal canon have been selected specifically by Mary King for their technical and musical challenges. Each piece is discussed at length, starting with the words ('Text'), moving to general advice about how the song might be approached ('Notes'), and then addressing the technical difficulties the music presents ('Skills'). Expressed in clear language, Mary King's approach is direct, practical and not limited to one particular teaching method. Any student will find that these books enrich and complement their vocal studies. Singing in GERMANGerman can seem like an awkward language to sing - there are just too many consonants! And there are lots of regional differences in accent: is there a 'correct' pronunciation? What exactly is an Umlaut? Why is 'ss' sometimes written 'ß' and does it make a difference? This book addresses all these points and more, giving singers the confidence to approach repertoire in German. / Voix Haute Et Piano

Par PEGLER HEIDI / KEMP N.J.. This graded songbook will help you develop the skills required to sing in a foreign language. An invaluable resource for all singing students and teachers. This edition is for intermediate level high voices, and contains songs in French, German, Italian and Spanish. A detailed pronunciation guide is included using the International Phonetic Alphabet. Each song includes background information, as well as technical and musical teaching points. The accompanying CD boasts a full pronunciation guide by native speakers, as well as full recordings of all accompaniments for practice and performance. / Niveau : Assez Facile / Recueil / Chant et Piano

Par BRITTEN BENJAMIN. The Oxen is a lamenting poem of Thomas Hardy's set to music by esteemed composer Benjamin Britten, arranged for upper voices with piano accompaniment.   / Choral Music / Répertoire / Voix Hautes et Piano

Aus ?Letzte Blätter? Von Hermann Von Gilm. Par STRAUSS RICHARD. New practical edition of the “Acht Gedichte” op. 10 by Richard Strauss from “Letzte Blätter” by Austrian poet Hermann von Gilm (1812-1864). Strauss composed these songs in 1885 when he was 21 years old. He often accompanied his wife, the soprano Pauline Strauss-de Ahna, on the piano and worked with her on interpretations of his piano songs. The resulting entries of the composer (e.g. performance markings) are reproduced in this edition. Included are three of the best-known of his songs, „Zueignung“ No. 1 (“Devotion“), „Nichts“ No. 2 (“Nought“) and „Die Nacht“ No. 3 (“Night“). The songs in this edition are set in their original keys. Based on the text of “Richard Strauss Works” – Critical Edition (RSW), with English translations by John Bernhoff./ Répertoire / Voix Haute et Piano

'Faust', 'Wilhelm Meister', 'Egmont' ou même 'Erlkönig' - dans ses lieder, Beethoven recourut sans cesse aux modèles littéraires du grand poète de Weimar. Tous les lieder de Beethoven sur des textes de Goethe sont enfin, et ce pour la première fois, disponibles en un seul volume. À côté d'oeuvres célèbres, telles que 'Wonne der Wehmut' ou la satirique Chanson de la puce de Mephistophélès op. 75 #3, on trouve également dans ce volume quelques oeuvres inédites, comme par exemple quatre versions différentes du lied de Mignon 'Nur wer die Sehnsucht kennt'. La partition de la Beethoven-Gesamtausgabe (édition complète des oeuvres de Beethoven) sert de base à l'intégralité de ce volume, hormis la Chanson de la puce, revue grâce à la découverte récente du manuscrit. / Voix Et Piano

Singing in EnglishInstrument : high voice and pianoNombre de Pages : 128The Boosey Voice Coach is an entirely new concept in vocal training. Not a self-teaching manual, and not filled with off-putting diagrams, this series is a wholly practical guide to singing - learning about technique and interpretation through the repertoire itself. Each volume is devoted to singing in one particular language or to singing in a specific context, such as musical theatre or oratorio. In each volume of the series, works from the vocal canon have been selected specifically by Mary King for their technical and musical challenges. Each piece is discussed at length, starting with the words ('Text' - including a literal translation as appropriate), moving to general advice about how the song might be approached ('Notes'), and then addressing the technical difficulties the music presents ('Skills'). Expressed in clear language, Mary King's approach is direct, practical and not limited to one particular teaching method. Any student will find that these books enrich and complement their vocal studies. Singing in English: Even for native speakers, the English language presents singers with particular difficulties. How do you manage diphthongs, for example' How do you make consonants clear without spoiling the vocal line' How do you make sense of the story-telling in a strophic folksong' These issues and more are covered in this book, which contains songs with texts in the English language, from Britain and elsewhere.Content : Introduction - Purcell/Britten: Music for a while - Purcell/Britten: Man if for the woman made - Purcell/Britten: Sweeter than rose - Handel: O sleep, why dost thou leave me' - Handel: Where'er you walk - Haydn: The mermaid's song - Haydn: The spirit's song - Haydn: My mother bids me bind my hair - Warlock: The countryman - Warlock: The baylyn berith the bell away - Warlock: There is a lady sweet and kind - Finzi: Rollicum rorum - Finzi: Fear no more the heat o' the sun - Traditional (arr. Britten): Oliver Cromwell - Traditional (arr. Britten): The salley gardens - Traditional (arr. Britten): The trees they grow so high - Copland: Why do they shut me out of heaven' - Copland: Heart we will forget him - Rorem: Orchids - Rorem: The serpent - Pronunciation guide

Par BERLIOZ HECTOR. Urtext. French with English and German text translations/ Répertoire / Voix Hautes et Piano

Italian opera was at the centre of Handel's output for over 35 years with solo arias constituting one of the most important elements in Baroque opera. Dramatic roles, with their various moods and reactions, are characterised through arias. A large number of Handel's operas also contain at least one entire scene for two to three voices. These numbers make use not only of similar lyrical or expressive forms of expression such as the arias, but also employ contrapuntal elements as found in Handel's chamber music.Based on the Bärenreiter vocal scores, three volumes were published which contain some of Handel's best-known arias, duets and trios, together with less well-known numbers of equally high musical quality. The arias are arranged chronologically, reflecting the order in which the operas were composed.The three volumes:Female roles for high voice (BA 4295)Male roles for high voice (BA 4296)Duets, Trios and Ensemble Scenes (BA 4297)- Unbeatable collections of Handel's most beautiful arias and ensembles- Musical text based on the Urtext vocal scores of the 'Halle Handel Edition?- Detailed foreword (Eng/Ger) by Donald Burrows on Handel's singers and on the arias in the context of the operas- Translations of the Italian aria texts (Eng/Ger) / Voix Hautes Et Piano / Partition