Joni Mitchell's music includes some of the most distinctive protest songs of the 1960s. Blessed with a voice that is instantly heart-warming, gentle and poignant, Joni's performances grew to reflect her life and surroundings in a delicate but always direct manner. With hits including Both Sides Now and the evergreen Big Yellow Taxi her voice remains, alongside those of Paul Simon and Bob Dylan, a distinctive example of the power of the folk/protest tradition. This special selection contains twenty of Joni's best-loved songs has been arranged for Piano and Voice with Guitar chords

Specially arranged to be easy to play - fifteen of the world's great folk songs including 'Blowin' In The Wind', 'From Both Sides Now', 'Universal Soldier' and 'Where Have All The Flowers Gone'. / Piano/Vocal/Guitare (PVG) (Avec Grille D'Accords)

Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Piano Et Orchestre

Ninety-six tear-out pages attached to a heavy cover sheet to assist in easier writing. All sheets are printed on both sides and punched for three-ring binders. Printed in black ink on regular-weight, white paper. / All Styles - Manuscript / Recueil / Tout Instrument

These professionally produced piano ,vocal arrangements are of all the songs on Joni Mitchell's Hits compilation. Big Yellow Taxi; Both Sides Now; California; Carey; Chelsea Morning; Chinese Cafe ,Unchained Melody; The Circle Game; Come In From The Cold; Free Man In Paris; Help Me; Raised On Robbery; River: Urge For Going; Woodstock; You Turn Me On, I'm A Radio.

Pour la première fois dans un livre ! Voici les paroles complètes et les accords de guitare à chaque chanson Travis ont enregistrés, y compris toutes les chansons de leurs trois premiers albums, ainsi que des singles, B-sides et couvrant les versions. Comprend une discographie complète. / Chant Et Guitare / 192 pages / Partition

Par CRUMB GEORGE. Like Book I of George Crumb\'s final large-scale keyboard cycle, Metamorphoses, Book II: Ten Fantasy-Pieces (After Celebrated Paintings) comprises ten movements for solo piano, each inspired by one of the composer\'s favorite works of visual art. His efforts to render these paintings in sound lead Crumb to reach beyond the conventional resources of the instrument once more: the insides of the piano are amplified, plucked, struck, and \'prepared\' with foreign objects, and the pianist doubles on a handful of percussion instruments, speaks, whispers, and blows audibly as part of the 38-minute performance. Metamorphoses, Book II is dedicated to Marcantonio Barone, who gave the world premiere in December of 2020 at the American Philosophical Society in Philadelphia. Performing scores of both Book I (EP 68581) and Book II (EP 68729) are available for purchase, and a program note and full performance notes from the composer, detailing the extended techniques as well as the instruments and other objects required for performance. / Date parution : 2022-09-07/ Répertoire / Piano

Par HENSON KEATON. The Tallowmere Annual is a unique collection of words, sound, and ink paintings by musician and artist Keaton Henson. This hardback, special limited edition, mixed-media book tells the fragmented story of a town that never existed, Tallowmere, seemingly empty, showing only outlines of living things, words once spoken, and the sounds of distant mourning. The first of its kind, the book's front cover holds an MP3 pack embedded with an audio jack for headphones and sound controls. Readers can plug in and listen to a recorded score created specially by Keaton as an accompaniment to reading the book and viewing the artwork. Visit www.welcometotallowmere.com for more information.Detailed Specification: Cover: Cased edition with scuff proof matt lamination, 4-colour with spot UV front and back. Insides: End papers: black, 140gsm uncoated wood-free paper, 128 pages, 157 gsm matt art paper in sewn sections Original artworks created by Keaton: India ink on paper. Black and white striped head and tail bands. Battery pack features: Embedded in cardboard panel on front inside cover, 3x AAA batteries supplied with each pack, removable batteries, On/off switch Audio playback features: Audio chip has play/stop button and volume controls, audio lasts for approx. 20 mins, audio jack to be inserted centrally into the bottom of the cased cover./ Recueil / Piano, Chant et Guitare

Par DOBRZYNSKI IGNACY FELIKS. Ignacy Feliks Dobrzynski wrote eight nocturnes for piano. Five of them were published in 1833–1834 in two books as Opp. 21 and 24, while the remainder appeared in various occasional collections issued much later. The Nocturne in A major was written in 1846 and belongs to the group of works composed by Dobrzynski during his tour of German cities. That tour was designed to increase the composer’s popularity and boost his finances. Besides concerts and meetings promoting Dobrzynski’s music, the ‘marketing campaign’ also included the publication of his new salon miniatures in particular cities. This Nocturne appeared in print in Berlin as Op. 52, together with a short mazurka constituting a transcription of the earlier song ‘Gdzie lubi’ (‘A fickle maid’). The form of this piece is based on an A-B-A1 scheme typical of the genre, with a quite elaborate epilogue. In section A, the composer based the melody on a one-bar motif in mazurka rhythm, which he combined with a bass led in widely spread chords, often used in nocturnes. He thus obtained a specifically idyllic mood. The sonorities, the type of melody and texture and, above all, the ornaments that appear as the work progresses bring to mind the early work of Fryderyk Chopin. The chordal section B, of lively expression, in the key of F sharp minor and a uniform triple rhythm, triggers associations with the middle section of Chopin’s Nocturne in A flat major, Op. 32 No. 2. After a short bridge, the reprise comprises a reiteration of the opening part of section A, which then passes into the epilogue, in which the composer splices motifs from both contrasting sections. It is difficult to date the second Nocturne published here and to establish the circumstances surrounding its composition. It was published posthumously (in 1868, in Warsaw), in the Album Pamiatkowe IG.F. Dobrzynskiego (‘Souvenir album of I. F. Dobrzynski’), which also contained two mazurkas, two songs and an excerpt from his incidental music for the play Konrad Wallenrod arranged for four hands. These compositions were not previously published and probably come from private collections. The Nocturne carries a dedication to Miss Wanda Miecznikowska. Determining the principal key of this work is rather problematic, since it falls into two tonally and expressively contrasting sections, divided by a lengthy caesura. An agitated, emotional episode in F minor (in A-B-A1 form, section B in A flat major), ending with a distinct conclusion, is followed, rather unexpectedly, by completely new material in the key of F major; adhering to a slower tempo and of very restrained expression, it serves as a sort of post scriptum, a lengthy and calming musical commentary to the foregoing segment. One may even gain the impression that this Nocturne is essentially a diptych consisting of two separate ‘songs without words’. Judging by its style, which is close to the lyric writing of Franz Schubert, Felix Mendelssohn-Bartholdy or John Field, with elements of the style brillant, this work could have been written earlier than the Nocturne in A major. One may also discern here a certain melodic-rhythmic similarity to the above-mentioned Nocturne in A flat major by Chopin. Both these Dobrzynski mazurkas could make interesting additions to the repertoire of both professional pianists and more advanced amateurs interested in nineteenth-century salon music. They may also enrich the programmes of concerts and broadcasts, particularly those devoted to Polish music, and also be included on the curricula of secondary schools of music. The present edition was based on the first editions. The proposed fingering in both works and the pedalling in the Nocturne in A major are entirely the work of the editors; other editorial performance markings are given in brackets. / Répertoire / Piano

Antonio Caldara (1670-1736) is primarily known for his numerous oratorios and operas which brought him great popularity during his lifetime. Besides these large-scale compositions, Caldara also wrote smaller vocal works, of which his 'Stabat mater? is the best known.This publication is based on Eusebius Mandyczewski's edition of the 'Stabat mater?, which has, until now, been the definitive edition. The notation and key signatures have been adapted to today's standards. The effective instrumentation with two trombones and strings supports the solemn character of the work and enables smaller-scale performances.This edition corrects and replaces the older publication by the 'Süddeutscher Musikverlag? (SM 2600). Any discrepancies between the score and vocal score have been corrected, and the work is now presented in a modern, clear layout. The orchestral parts are available in computer print for the first time.- Suitable for smaller-scale performances- Straightforward, idiomatic piano reduction / Piano

A must have for all pianists seeking a creative approach to developing left and right hand coordination. The exercises and solos (based on the chord changes to well-known standards) are rhythmic, colorful, and fun to play. The chapters cover six specific areas of left hand development and left/right hand integration, with practical application from standard jazz tunes in the form of musical solo piano pieces. This book will definitely be an essential part of your practice routine. Besides improving your hand coordination, it will challenge you to think differently about it. All of the concepts are easily applicable to the real world. Highly endorsed! Pianist Emiko Hayashi has written a very comprehensive, challenging yet very accessible method book. With exercises designed for left hand alone and exercises designed to develop interplay between the hands, I wholeheartedly recommend this book. I\'ve already started practicing! - Kenny Barron In Etudes for Jazz Piano Emiko Hayashi illuminates a challenge that faces scores of jazz pianists at all levels; that of integrating the left hand in improvisation in a meaningful way, not only as an accompanist, but as an integral part of the whole. By taking various jazz standards and creating etudes specifically for the left hand as well as for developing coordination and the conversational aspects between the left and right hands, Ms. Hayashi illustrates many possibilities for expanding one�s technical and expressive range. I would think this set of etudes would be extremely useful to jazz pianists at any stage of development since the obvious outcome of the study will improve one�s ability to play melodically and expressively throughout the keyboard, without regard to the traditional roles of the left and right hands. - Todd Coolman It is understood that all musicians must play piano. Emiko\'s book fills a void for non-pianists addressing specific technical problems which will help towards being able to use the piano to improve and enlarge one\'s playing and composing, no matter what instrument you play. This is a hands-on book directed towards immediate results. - David Liebman

Piano Reduction Of The Early 1844 Version. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn' s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première- the 'child prodigy' Joseph Joachim- and Hubert Léonard, a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David- now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn' s approval. That the young violinist made a positive impression on the composer is confirmed in the latter' s correspondence following their joint performance. Mendelssohn is full of praise for Léonard' s playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (Eng/Ger)/ Répertoire / Violon et Piano

For open-minded teachers and inquisitive kidsThese piano miniatures are a distinctive and unusual addition to the teaching literature - genre paintings in contrasting styles with musical wit and inventive sounds and rhythms. They offer glimpses into the musical cultures of different countries ('Hunting in Hungary, Gamelan, Balkan Dance, African Games?) and music history ('Medieval Feast for the Left-Handers?).Besides training finger technique, the pieces help students to think in terms of counterpoint and to develop an expressive delivery.Peter Graham (actually Jaroslav ?tastný, b. 1952) teaches composition at the Janácek Academy of Arts in Brno.- Miniature recital pieces for piano with amusing illustrations by Andrea Tachezy- A welcome addition to the piano teaching literature- Simple and entertaining genre paintings- Easy to moderate level of difficulty / Piano

Par MOZART WOLFGANG AMADEUS. Until now the edition The Music Books of Mozart and His Sister has only been available as part of the boxed set of Mozart's oeuvre for piano (BA 5749) which has gone out of print. Now, for the first time, it can be purchased separately. Based on the New Mozart Edition, this is the only publication to contain all the pieces, sketches and fragments found in the notebooks. The Foreword by Mozart scholar Wolfgang Plath provides valuable information on the pieces themselves and on the question of their authorship- besides Mozart's earliest juvenilia, some of which formed the basis of later compositions, the notebooks also contain works by Leopold Mozart and other composers. Facsimile illustrations from the autographs convey a lively picture of this collection of easy to moderately difficult keyboard pieces ideally suited for teaching purposes./ Répertoire / Piano

New from the Hal Leonard Student Piano Library - Basic Skills Series. Scales, Patterns and Improvs provides students with a valuable resource for building technique through one octave scales, I-IV-V7 chords and arpeggios in all major and minor keys. Students apply these basic skills through improv exercises and reading pieces in every key, and by learning to transpose, create an accompaniment and play from a lead line. The accompanying CD features MIDI orchestrations for all improvs and exercises. Plus, the CD is enhanced so besides working in any CD player, Windows and Mac computer users can also access MIDI files for each song! / Piano