Par BEATLES THE. This Piano Chord Songbook contains complete lyrics and chord symbols for over 50 great Beatles hits, plus clear, easy-to-read diagrams for every chord that you'll need to play. / Niveau : Facile / Recueil / Chant et Piano

With Broadway Hits: Original Keys For Male Singers you can command the stage which features 23 timeless Broadway hits in Vocal/Piano arrangements true to the men who made them famous.Broadway Hits: Original Keys For Male Singers includes sheet music for All I Ask Of You, Bring Him Home, Circle of Life, If Ever I Would Leave You, Seventy-Six Trombones, This Is the Moment and more. / Voix Et Piano

Preface by Carol Barratt. Here's a great new collection of showtunes, folk songs, children's songs and pop songs, carefully chosen to bring fun and musical variety to the primary school classroom. Some will be familiar, some will be brand new surprises, and some will be half-forgotten favourites from the past now given a new lease of life. All songs are arranged for easy piano and the piano parts can also be heard on the two accompanying music CDs. Lyrics are printed out for every song but are also available as free downloadable pdfs for easy projection for multiple printing. Includes teachers notes. Let's get our schoolchildren singing again with The National Songbook! / Chant Et Piano

This collection contains 50 Beatles favourites arranged for the Piano in an easy-to-read and play format with lyrics and chords.First 50 Songs by the Beatles You Should Play on the Piano includes the hits: Blackbird, Can't Buy Me Love, Day Tripper, Eleanor Rigby, The Fool on the Hill, Good Day Sunshine, Hey Jude, I Want to Hold Your Hand, Let It Be, Michelle, Penny Lane, Sgt. Pepper's Lonely Hearts Club Band, Twist and Shout, We Can Work It Out, Yesterday and more. / Paroles Et Accords

Like many composers who found themselves in exile during the war years, Castelnuovo-Tedesco composed in a very neoclassical and neoromantic style, reviving more traditional or antiquated ideas of melody, tonality and texture. His collection of Shakespeare Songs feature settings of verse from across the full range of the Bard's plays, and have proved to be great critical successes still widely performed today. Suitable to be adapted by most voices. the songs are interwoven with complex and thrilling Piano accompaniments that bring colour and energy to the often liberally edited texts. Book ten contains a set of six short songs adapted from King Lear . / Voix Et Piano

For aspiring and professional singers who love Broadway, Alfred's Singer's Library of Musical Theatre presents an elegant collection of the best-loved musical theatre songs in their original keys, authentically transcribed from their original vocal scores. Perfect for study, and equally suitable for the most important auditions and performances, each volume is dedicated to a specific vocal range, and contains dozens of songs from a variety of shows that span decades of theatre history. Multiple volumes are available for each of four vocal ranges: Soprano, Mezzo-Soprano/Alto, Tenor, and Baritone/Bass. Authoritative historical and contextual commentary, audition tips, and 16-bar cut suggestions for each song make it the most useful and relevant song library of its kind. Titles: I'm Not That Smart (The 25th Annual Putnam County Spelling Bee) * My Unfortunate Erection (Chip's Lament) (The 25th Annual Putnam County Spelling Bee) * Dames (42nd Street) * Radames' Letter (Elton John and Tim Rice's 'Aida') * The Gypsy in Me Anything Goes (1988 Revival)) * Ballad of Booth (Part III) (Assassins) * What Am I Doin'? (Closer Than Ever) * Broadway Baby (Dames At Sea) * Blah, Blah, Blah (Delicious) * When the Earth Stopped Turning (Elegies) * You Gotta Die Sometime (Falsettos) * I Want to Make Magic (Fame: The Musical) * Sandy (Grease) * Donna (Hair) * Different (Honk!) * The Phone Call (Lucky Stiff) * Knowing Me, Knowing You (Mamma Mia) * To Each His Dulcinea (Man of La Mancha) * Larger Than Life (My Favorite Year) * I'm Falling in Love with Someone (Naughty Marrietta) * And They're Off (A New Brain) * Stouthearted Men (The New Moon) * Lucky to Be Me (On the Town) * A New Town Is a Blue Town (The Pajama Game) * Extraordinary (Pippin) * There's a Boat Dat's Leavin' Soon for New York (Porgy / Instrumental Music, Miscellaneous, Songbooks, Voca / Recueil / Voix et Piano

Par LEANDROS VICKY. Vicky Leandros ' L'Amour Est Bleu. Music by Andre Popp with original French lyrics by Pierre Cour. English lyrics by Blackburn./ Feuillet / Chant et Piano

Compositeur(s): JEAN-LOUIS COULEARD, DAVID OBELTZ and SEBASTIEN HAUPAIS / Piano Et Chant

To mark the band?s 21st anniversary, Rammstein are releasing the luxurious songbook Klavier with 13 arrangements for Piano and Voice, including a CD with 13 Piano recordings ? all in an elegant hardcover edition. The music of Rammstein has been described as like listening to the construction of monumental buildings in the desert. If that is the case, such an imposing structure has been worked on over 21 years already. With album and DVD sales in the upper seven figures, Rammstein's output is at once controversial, creative and always exciting. This and their headline shows at the biggest festivals and sold-out arenas throughout the world have put this band at the top of a great pyramid of rock music titans in just two decades. They owe their status as an unmatched performing band to their unique art which is dramatic, emotional and a bleak and spectacular fairytale, always courting controversy. Such a fascinating band means this lavish songbook is fitting. Featuring 80 pages, a hardcover design with open-thread stitching and hot foil stamping of the 'Rammstein XXI' logo, this book is perfect for fans of Rammstein who want to learn the wonderful music for Piano and Voice. Donaukinder Ein Lied Engel Feuer Und Wasser Frühling In Paris Klavier Mein Herz Brennt Nebel Ohne Dich Roter Sand Seemann Sonne Wilder Wein

Instrumentation : Medium-Low voice - PfThis is the first ever complete critical edition of Henri Duparc's songs. Edited by Roger Nichols, the elegantly presented music is supported by a fully comprehensive Critical Commentary which illuminates as never before the compositional stages of these beautiful songs. Roger Nichols' international reputation as a leading authority on French music makes this edition essential for all singers who perform, study or teach these mélodies. This new Peters Edition of Duparc songs is most welcome. In beautiful In beautiful, clear print, it contains not only a great deal of useful information, but also a pronunciation guide for the French and best of all, translations, something the young singer or student will find invaluable. I could not recommend it more high ly. Dame Janet Baker Content : Chanson triste; Soupir; Romance de Mignon; Sérénade; Le gallop; Au pays où se fait la guerre; SoupirRomance de MignonSérénadeLe gallopAu pays où se fait la guerreL'invitation au voyageLa vague et la clocheLa fuiteÉlégieExtase L'invitation au voyage; La vague et la cloche; La fuite; Élégie; Extase; Le manoir de Rosemonde; Sérenade florentine; Phylidé; Lamento; Testament; La vie anterieure Editor :Nichols

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