Que vous prépariez une audition ou que vous soyez un chanteur de karaoké cette collection est faite pour vous. Pro Vocal met à votre disposition les paroles, lignes mélodiques et accords guitare de 8 chansons. Le livre est accompagné d'un CD contenant 2 versions de chaque morceaux : un démo complète et une version sans chant. / Voix / Partition + Cd

Situé dans la ville fictive de Everington dans le comté de Durham, ce film de 2000 a joué un jeune Jamie Bell : 11-year-old Billy, une danseuse aspirant. Julie Walters a joué le professeur de danse. L'histoire a été adapté pour la scène du West End : Billy Elliot la comédie musicale en 2005. Ce recueil de chansons comporte 10 grandes chansons de la bande originale du film arrangé pour guitare et piano voix. / TV, Film, Comédie musicale / Recueil / Chant

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

A collection of 50 of the biggest hits of the 21st century, in easy melody line arrangements for all electronic keyboards, including 'Jar Of Hearts', 'Someone Like You', 'The A Team' and many more. Ideal for the beginner, each song has chord symbols, lyrics, suggested registration, rhythm and tempo. / Clavier

Musical numbers that one after another hit the jackpot. Par DREWE ANTHONY. This is the official songbook for the brand new stage version of Half a Sixpence. The show opened to rave reviews and is currently playing at the Noël Coward Theatre, London. This musical adaptation of H.G. Wells's semiautobiographical novel 'Kipps: The Story of a Simple Soul', is a completely fresh adaptation which reunites Julian Fellowes (creator of Downton Abbey) with George Stiles and Anthony Drewe, the musical team that co-creator Cameron Mackintosh first put together to create the hit stage adaptation of Mary Poppins. The score is inspired by and features several of composer David Heneker's exhilarating songs from the original production, including Flash Bang Wallop, Money to Burn and Half A Sixpence./ Recueil / Chant et Piano

30 smash hits transcribed precisely as they were played, from artists such as Elton John, The Police, The Beatles and Queen./ Recueil / Piano

Une collection de plus de 50 hits acoustiques arrangées pour piano facile. / Piano

Par WEILL KURT. Pièce de théâtre musical de Kurt Weill se déroule sur le seuil d'une succession de logement dans l'East Side de Manhattan par une journée chaude en 1946. Il traite les querelles ordinaires et les potins des voisins, mais les tensions croissantes entre les caractères irritables finalement construit, et il s'ensuit une tragédie de pAvailableortions épiques./ Répertoire / Chant

37 Favourite SongsInstrument : Voice and PianoType : song bookNombre de Pages : 88Six outstanding collections of favourite songs (Songs of England, Songs of Ireland, Songs of Scotland, Songs of Wales, Songs of Christmas, Songs of the Americans). All arrangements include the melody line in the accompaniment so that the songs work equally well as piano solos. Ideal for playing at home, in the classroom, or even as concert items!Includes Danny Boy, Cockles and Mussels and Down by the Salley Gardens.The edition is part of the ABRSM singing exam syllabus (grade 1,2,3).Content : Believe Me - Come Back to Erin - I Will Walk with My Love - I'll Take You Home Again, Kathleen - Kathleen Mavoumeen - Kelly the Pirate - The Gypsy Rover - The Lover's Curse - The Meeting of the Waters - The Minstrel Boy - The Rose of Tralee - The Spinning Wheel - The Young May Moon - As I Was Going Along the Road - Avenging and Bright - Cockles and Mussels - Danny Boy - Down by the Salley Gardens - Here Come the Navvies - Hey Ho, the Moming Dew - I Know Where I'm Goin' - If AII Those Endearing Young Charms - Kitty of Coleraine - Lullaby - Oft, in the Stilly Night - The Boys of Kilkenny - The Dear Little Shamrock - The Flight of the Earls - The Garden Where the Praties Grow - The Harp That Once Thro' Tara's Halls - The Irish Emigrant - The Last Rose of Summer - The Mallow Fling - The Praties They Grow Small - The Star of the County Down - The Wearin' o' the Green - Tramping Song - Trottin' to the Fair

Arrangements faciles de 50 chansons par des artistes chrétiens! / Piano / 288 pages / Partition