Vocal Solo with Online Audio-Sing along with a full orchestra! Alan Menken & Howard Ashman's title track originally penned for the Disney animated movie in the 1990s has now been updated in a new setting performed by Ariana Grande and John Legend for the 2017 live action film presented in print as a vocal solo arrangement with Piano accompaniment. It also includes access to an online fully orchestrated accompaniment for download or streaming so you can sing along and sound like a pro! The audio is accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include PLAYBACK+ a multi-functional audio player that allowsyou to slow down audio without changing pitch set loop points change keys and pan left or right.

17 Choruses for mixed voices from Handel's sacred works. Selected with introductory notes by Brian Kay. Rarely brought together, these diverse choruses demonstrate the enduring vitality of Handel's writing. / Chant Et Piano

Ed. critica M. Talbot - Riduzione per canto e pianoforte di A. Frigé. Par VIVALDI ANTONIO. This volume presents the vocal score of Vivaldi's Magnificat RV 610/611 for soloists, choir, winds, strings and continuo, based on the critical edition by Michael Talbot. Probably meant for a performance at the Pietà, Vivaldi, after its first 1715 version, returned on it in two occasions at least: at the end of the 1720s and of the 1730s. The Magnificat, in its time, was considered as Vivaldi's most celebrated piece. / Niveau : Intermédiaire / Répertoire / Chant et Piano

Edizione critica F. Della Seta - Riduzione per canto e pianoforte-Composed in 1818 on commission from an unknown individual in Lisbon Adina was left to languish some years until its premiere in 1826 with a single performance in that city remaining virtually the only one on record until the opera's revival in 1963. The present vocal score is based on the critical edition of the orchestral full score prepared by Fabrizio Della Seta and published by the Fondazione Rossini of Pesaro in collaboration with Casa Ricordi. This Edition reconstructs for the first time the structure of the autograph score which reflects the collective contributions of at least five different hands: having composed only four entirely new numbers andrepurposed another three from Sigismondo Rossini relied upon collaborators and copyists for the remainder of the music. Della Seta's detailed examination of this fundamental document (housed at the Fondazione Rossini) together with an informed assessment of the secondary sources including a complete manuscript copy (housed at the British Library in London) various manuscript vocal parts with Rossini's autograph interventions (housed in the Royal Conservatory of Brussels) and the first edition of the vocal score published by Ricordi between 1855 and 1859 additionally reveals how the libretto printed in Lisbon for that single historic performance in 1826 differed substantially from the narrative disposition of the autograph score with ample cuts and modifications (among those the suppression of the Aria Alì and the addition of a Coro). While neither attributable to Rossini himself nor pertaining to his original conceptual design of the opera this Coro the music of which survives in the first vocal score is included as an Appendix to the edition.

John Dryden wrote two odes in honour of the patroness of music and musicians - A Song For St. Cecilia's Day , in 1687, and, in 1697, Alexander's Feast , both of which were subsequently set to music by Handel. A Song For St. Cecilia's Day proved so popular that it was performed six times during the winter of 1739-40, in spite of the fact that this was a 'hard winter'. Written for soprano and tenor soli, SATB chorus and orchestra, this edition contains all vocal parts and a piano accompaniment / Chant Et Piano

Das Veilchen-The elegant playful endlessly creative pen of Mozart wrote this short song on 8 June 1785 in Vienna. The three-verse poem by Goethe had already been set to music by at least four composers before Mozart was inspired to write.While the poem has three equal stanzas the song has three distinct moods relating to the words. They tell the sad tale of a violet symbolizing a young man who loves a young shepherdess. The shepherdess carelessly tramplesthe violet who manages to die happily for love. Mozart himself added a final sympathetic line of text. The range is not demanding and there are useful notes in this edition on ornamentation making this a charming addition toa younger singer’s repertoire as well as to an experienced singer’s collection.