Par WALLER FATS. 24 pièces vocales du musical de Broadway 1978 célébrant la musique de Fats Waller. Joignez-vous à la foule de Harlem célèbre Cotton Club pour chanter et échangisme, où les chats sont fraîches et la musique est chaude ! Inclut ces normes grandes Rose de chèvrefeuille, je ne peux pas vous donner autre chose que l'amour, l'articulation est Jumpin'et, bien entendu, Ain't Misbehavine./ Recueil / Chant

20 titres des années 90 arrangés pour piano. Niveau débutant et intermédiaire. / Piano / Partition

The Piano Treasury of Hymns is designed to be the cornerstone of your personal music library. This tremendous collection contains 400 pages of the best-loved Christian hymns from Europe and America. From traditional favourites to contemporary worship songs, here you'll find the music that has inspired praise and worship for over four centuries. This sacred folio will provide years of enjoyment for everyone who loves the music of the church. Rediscover the beauty and power of the great songs that are a part of the fabric of the church and music history. / Piano

Frühe Lieder II (1911-1915) - Erstausgabe. Par SIMON KLAUS. All songs and lieder composed in the years 1910-1937 by the composer Erwin Schulhoff from Prague, who was persecuted by the National Socialists, are now published in three volumes for the first time, documenting his very different creative phases and stages of life: Whereas Vol. I and II stand for the emancipation from being a successor to Wagner and Debussy, Vol. III contains not only the well-known atonal Fünf Gesänge from 1919 but also fresh jazzy popular songs and political songs for the masses written after 1933 when he turned to communism./ Recueil / Chant et Piano

20 RomancesInstrument : medium (low) voice and pianoNombre de Pages : 104Content : My Guardian, My Angel, My Friend - A Tear Hangs There op. 6/4 - None But The Lonely Heart op. 6/6 - Rest You Now, O My Heart op. 25/1 - No Answer Now op 28/5 - Don Juan's Serenade op. 38/1 - At The Ball op. 38/3 - O, Could You But for One Short Hour op. 38/4 - The Love of One Dead op. 38/5 - Pimpinella op. 38/6 - O Sleep, Unhappy Friend op. 47/4 - I Greet You All, You Woods and Forests op. 47/5 - On Golden Meadows Now op. 57/2 - Bravery op. 60/11 - The Stars Looked Tenderly upon Us op. 60/12 - I Opened My Window op. 63/2 - The Lights Were Being Dimmed op. 63/5 - Night op. 73/2 - Now the Sun's Departed op. 73/4 - Ah! Once Again All Alone op. 73/6 - Appendix

The Piano is unquestionably a timeless instrument that has never, and will never go out of fashion in popular music. The beauty of the keys, when married with the right singer or songwriter, has the power to create truly momentous music, and Songs Of The Piano Stars, with its 24 hit songs from the past and present, will let you learn to play a selection of perfect Piano-led tunes.Drawing from the wealth of popular tunes from the past sixty years that have included a pretty Piano part or two, Songs Of The Piano Stars presents a massive range of artists and their songs that are well-loved and will remain so for years to come. From The Beatles and Carole King to Alicia Keys and the Ben Folds Five, the variety on offer here is testament to the persistence of the Piano in popular music. From beautiful ballads like All Of Me by John Legend, Don't Explain by Nina Simone and Imagine by John Lennon to huge pop hits like Carly Simon's You're So Vain and Elton John's classic Tiny Dancer, these songs, arranged for Piano and Voice with full lyrics and Guitar chord boxes, will allow you to learn and perform them accurately and beautifully. There are some old classics included, such as the legendary Tom Waits' Come On Up To The House and Randy Newman's I Love To See You Smile, and these are put alongside newer tunes like Brave by Sara Bareilles and Vanessa Carlton's A Thousand Miles.These songs have been expertly-selected and engraved to reflect the most-requested songs by Piano singer-songwriters from over the years. With the success of the electric Guitar and the advent of rock music, the Piano-led performer faded away somewhat, but the underlying love of composers and songwriters of creating music at the Piano never subsided. This Piano sheet music songbook features the greatest songwriters who have always championed the indomitable ivories throughout the changing musical landscape. Whether they sculpted a career out of their Piano songwriting skills in the '60s or '70s, or they continue to integrate the Piano into their modern pop songs, Songs Of The Piano Stars is full of fantastic Piano tunes that will sound really great as part of your repertoire or in a performance. Music history has shown us that the Piano is here to stay, so open this songbook to your favourite song and play! / Voix Et Piano

Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera.” On the same scale as chamber music is to the symphony, it is rather the other way of talking onstage. The movable apparatus permits sophisticated voice-leading. A large ensemble demands simple conception to achieve the complexity it perhaps intends; this can be formulated more sharply and nuanced in a chamber ensemble. Therefore it is the subject which this type of presentation must sustain – or, better, provoke. Büchner’s Lenz is a description of the conditions within a process of collapse, moments of destruction already occurred but not yet accepted, evident in the points of contact with the environment. And it was those points of contact which Michael Fröhling attempted to reconstruct onstage. Lenz’s distraught state is always the same; only the proximity of the environment to that distraught state grows and ebbs. The musical consequence An hour of extreme chamber music results from this description: always bound for the main character – actually, not a commentary, but the main character himself as a multilayered level of action. Although Lenz acts on many levels – or tries to or believes he is – he has no room to manoeuvre. That is why he is also tightly interwoven in his sonic surroundings; the voices which only he hears are just as much himself as the two men with whom he foregathers (the liberal pragmatist Oberlin and the alert merchant who always “does the right thing” in every situation) – they evoke responses which he deeply desires. Omnipresent Friederike is just as much his inner world as Nature is – Nature, which he can no longer perceive unless it is personified, enlivened or dead. Therefore, the music’s task is both to motivate the “situation” (atmospherically) and to be the psychological constant (via a network of entangled references per se) in an action as it is played out. The compositional process December 1977 to June 1978 – a period identical to the stepwise understanding of an existence as that of Jakob Lenz. Yet the more the historical figure became precisely attendant in my intellect in terms of data and atmosphere, the more it retreated in favour of a cipher of disturbance as I began to understand Lenz. Thence the explanation for the failure of the attempts to approach him – including my attempt to interpret him via musical representation – because, essentially, Lenz himself is the failure. Only the naked stages of that failure remain portrayable, i.e. including the failure of those who wish to “help” Lenz, for example, while Lenz himself is already trapped inextricably in a state of complete destruction. I tried to compose my way into that situation as far as possible; the insistence of several rhythmic and harmonic configurations is the palpable expression of the main character’s ever-recurring rigidity. One sound pervades the entire work. The musical stage For me, this is a place where very magical and very human things take place. In Jakob Lenz, the human aspects often switch to magical ones, since the realism of a self-suasive, unhinged soul takes on surreal traits – or we simply cannot understand that otherwise except as not being real. A character like Jakob Lenz on the stage is complex due to the fact alone that it harbours many stages within itself, and music must represent those constantly present stages. I have tried to do so in the most direct way – by not cleanly separating the musical layers, but keeping them constantly in evidence until they must break forth, each in accord with its own dramaturgy. In an overview, the large form takes on aspects of a rondo, performed in overlapping layers – a type of rondo relief, since perspectives of psychological proximity and distance are indeed formulated musically as atmospheric relations. Above all: the thread on which Jakob Lenz hangs is the current onto the listeners’ hearts. Wolfgang Rihm (January 1979)/ Répertoire / Chant et Piano

Vingt-deux hits de Robbie Williams dans la mélodie simple ligne arrangements pour tous les claviers électroniques. Idéal pour les débutants, chaque chanson a symboles de corde, paroles, enregistrement suggérée, rythme et tempo. Les diagrammes de clavier facile à suivre sont regroupés au début de chaque chanson et montrent tous les voicings gauche corde utilisés. Comprend le Rock DJ, suprême et la route de Mandalay. / Chant Et Guitare / 48 pages / Partition

Originally a runaway 1935 RKO musical hit on the big screen starring Fred Astaire and Ginger Rodgers, Top Hat is now a critically acclaimed theatre production featuring Summer Strallen (Meg Giry in Andrew Lloyd Webber's Love Never Dies) and Tom Chambers (Winner of Strictly Come Dancing ). Accompanying the Top Hat world premiere in London's West End, Wise Publications are proud to present the matching songbook folio, Selections from Top Hat The Musical. For the first time ever the music of Irvin Berlin has been adapted for the stage, with his six songs from the film's original soundtrack joined by some of the legendary songwriter's best loved tunes from other works. This songbook selection features thirteen Irving Berlin classics from Top Hat The Musical, arranged for piano, guitar and vocals, with a lavish eight page colour photo section featuring exclusive stills of the show. With guitar chord symbols and full lyrics, you too can capture the magic of this musical favourite as it makes its grand debut on the renowned stage of the Aldwych Theatre, London. / Voix Et Piano

Plus grand enseignement de matériel au même niveau que le premier volume. Plus de 30 chansons dans chaque volume avec aucune chanson dupliquée entre les types de voix. Un étudiant pourrait débuter facilement dans le premier livre ou dans le premier livre partie II, ou les livres peuvent être utilisés simultanément. / Chant Et Piano