Par ROLLING STONES THE. Enfin le Fake Book du célèbre groupe 'The Rolling Stones'. Superbe ouvrage qui regroupe 167 chansons du groupe enregistrées entre 1963 et 1971. Ligne mélodique, symboles d'accords et paroles complètes. Inclus des photos en couleur. / Rép International / Recueil / Chant et Guitare

Par . La nouvelle collection The New Decade Series propose une compilation des meilleurs tubes pop-rock par décennies musicales arrangés pour Piano, Voix et Guitare. Découvrez les 4 premiers volumes de cette collection contenant environs 80 morceaux chacun : - les années 90 des Spice Girls à Oasis - les années 80 de Madonna à David Bowie - les années 70 d'ABBA à Queen - les années 60 des Beatles à Jimi Hendrix / Date parution : 2022-10-25/ Recueil / Piano/Vocal/Guitare (PVG)

Cette Little Black Book est une collection de poche de 72 chansons présentées dans un format songbook d'accord, disposés dans les mêmes touches que les enregistrements originaux et dont les symboles d'accords, les grilles d'accord de guitare et paroles complètes./ Recueil / Paroles et Accords

Par MILLER JOHN. When John Hurt was rediscovered in 1963, he was presented with a very rare opportunity to expand and re-write his musical legacy, late in life. And he did just that, recording over seventy songs previously unrecorded by him, adding to the repertoire of thirteen titles he had recorded in 1928. In The Guitar of Mississippi John Hurt - The Rediscovery Years, John Miller focuses on performances that John Hurt recorded in between 1963 and his death in 1966, presenting transcriptions of 24 of those performances. The richness and variety of John Hurt's music is showcased in these songs, with everything from low-down blues in E to raggy numbers in C to waltzes in D featured. Transcriptions are provided in TAB and standard notation, lyrics for all of the songs are provided, and where verse accompaniments are provided in the transcriptions, indications are given to show where the vocal sits relative to the accompaniment. Audio clips of Mississippi John Hurt playing each transcribed song are available via a download link. If you're a fan of Mississippi John Hurt's music, The Guitar of Mississippi John Hurt - The Rediscovery Years will give you the most complete collection of his later performances available anywhere. / Niveau : Intermédiaire / Date parution : 2019-05-27/ Tablatures / Guitare

Un must pour tous les fans de Wonder, c'est une collection complète de 75 gemmes 1963-1998. / Piano/Vocal/Guitare (PVG)

Description
The melody line and lyrics to all the Stones' songs composed from 1963-1981. Easy-to-read melody line, lyrics and chord arrangements. Separate lyric section and discography, with photos throughout.
Songlist
100 Years Ago
19th Nervous Breakdown
2000 Light Years From Home
2000 Man
2120 South Michigan Avenue
All About You
All Down The Line
All Sold Out
Angie
As Tears Go By
Back Street Girl
Beasts Of Burden
Before They Make Me Run
Bitch
Black Limousine
Blue Turns To Grey
Brown Sugar
Can You Hear The Music
Can't You Hear Me Knocking
Casino Boogie
Child Of The Moon
Citadel
Cocksucker Blues
Coming Down Again
Complicated
Congratulations
Connection
Cool Calm And Collected
Country Honk
Crazy Mama
Dance
Dance Little Sister
Dancing With Mr D
Dandelion
Dead Flowers
Dear Doctor
Don'cha Bother Me
Don't Lie To Me
Doo Doo Doo Doo Heartbreaker
Down In The Hole
Downtown Suzie
Each And Every Day Of The Year
Emotional Rescue
Empty Heart
Everything Is Turning To Gold
Factory Girl
Family
Faraway Eyes
Finger Print File
Flight 505
Fool To Cry
Get Off My Cloud
Get Off Of My Cloud
Gimme Shelter
Goin' Home
Gomper
Good Time Bad Time
Gotta Get Away
Grown Up Wrong
Hand Of Fate
Hang Fire
Happy
Have You Seen Your Mother Baby
Heart Of Stone
Heaven
Hey Negrita
Hide Your Love
High And Dry
Honky Tonk Woman
Hot Stuff
I Am Waiting
I Can't Get No Satisfaction
I Got The Blues
If I Were A Dancer (Dance Part 2)
If You Can't Rock Me
If You Let Me
If You Really Want To Be My Friend
I'm All Right
I'm Free
I'm Going Down
In Another Land
Indian Girl
It's Not Easy
It's Only Rock 'N' Roll
Jigsaw Puzzle
Jivin' Sister Fanny
Jumpin' Jack Flash
Just Want To See His Face
Lady Jane
Lantern
Let It Bleed
Let It Loose
Let Me Go
Lets Spend The Night Together
Lies
Little By Little
Little T Anda
Live With Me
Long Long While
Love In Vain
Loving Cup
Luxury
Melody
Memo From Turner
Memory Motel
Midnight Rambler
Miss Amanda Jones
Miss You
Monkey Man
Moonlight Mile
Mothers Little Helper
My Obsession
Neighbours
No Expectations
No Use In Crying
Now I've Got A Witness
Off The Hook
On With The Show
One More Try
Out Of Time
Paint It Black
Parachute Woman
Play With Fire
Please Go Home
Repectable
Ride On Baby
Rip This Joint
Rocks Off
Ruby Tuesday
Sad Day
Salt Of The Earth
Send It To Me
Shattered
She Smiled Sweetly
She's A Rainbow
She's So Cold
Shine A Light
Short And Curlies
Silver Train
Sing This Altogether (See What Happens)
Singer Not The Song
Sister Morphine
Sittin' On A Fence
Slave
Some Girls
Some Things Just Stick In Your Mind
Something Happened To Me Yesterday
Soul Survivor
Spider And The Fly
Star Star
Start Me Up
Stoned
Stop Breaking Down
Stray Cat Blues
Street Fighting Man
Stupid Girl
Summer Romance
Sway
Sweet Black Angel
Sweet Virginia
Sympathy For The Devil
Take It Or Leave It
Tell Me (You're Coming Back)
The Last Time
Think
Through The Lonely Nights
Till The Next Goodbye
Time Waits For No One
Tops
Torn And Frayed
Try A Little Harder
Tumbling Dice
Turd On The Run
Under Assistant West Coast Promotion Man
Under My Thumb
Ventilator Blues
Waiting On A Friend
Walking Thru The Sleepy City
We Love You
We're Wasting Time
What A Shame
What To Do
When The Whip Comes Down
Where The Boys Go
Who's Been Sleeping Here
Who's Driving Your Plane
Wild Horses
Winter
Worried About You
Yesterday's Papers
You Can't Always Get What You Want
You Got The Silver
You Gotta Move
You'd Be Surprised / Partitions variété - pop - rock / Variété internationale / Paroles&accords / MUSIC SALES

Small Sacred Concertos II. Par SCHUTZ HEINRICH. The 'Kleine geistliche Konzerte' (Small Sacred Concertos), published in two parts in 1636 and1639, are among the best-known and well-loved compositions of Heinrich Schütz. Both parts constitute a collection of vocal pieces in a broad range of styles written for only a few voices with basso continuo. Most of the texts are in German, but some are also in Latin. The first volume presents a broad spectrum of vocal scoring, musical forms and texts: there are solo concertos in the Italian style, traditional four-part motets, well-known Psalm texts set to music, hymns as well as mystically contemplative meditative literature. The concertos' monodic qualities and high level of virtuosity - especially in the compositions with German text - made Schütz a household name shortly after the 'Kleine geistliche Konzerte' were published in print. As the works required no large ensembles, they could be performed for different occasions and in various locations: particularly during the Thirty Years' War they could be heard at court, in cities or in villages but also in schools or at home. Unlike the 1963 edition of the 'Kleine geistliche Konzerte' (BA 3664, BA 3665, BA 3666) as part of the New Schütz Edition, this new volume presents the works for the first time in their original form and order. A historic-critical evaluation of all relevant sources yields new information regarding the composer's intentions, the printing process and the works' reception. Furthermore, the edition includes a reconstruction of an earlier version that has not been published until now. This edition is geared towards musicologists, as well as professional musicians and amateurs with a keen interest in early music./ Répertoire / Chant et Basse Continue

Armand Merck (Liège 1883 - Meudon 1963) commence des études de cor et d'écriture dans sa ville natale avant de s'établir à Paris pour suivre les cours de Vincent d'Indy à la Schola Cantorum, Auteur de plusieurs opéras (dont Tarass Boulba d'après Gogol), de cycles de mélodies, d'oeuvres symphoniques et d'une abondante production de piano et de musique de chambre, il s'inscrit dans la lignée de l'école post-franckiste, dont l'influence, déclinante après la Grande Guerre, ne s'est pas moins propagée assez loin dans la première partie du XXème siècle, La fidélité à des principes constructivistes que la modernité, dans le sillage de Debussy, semblait avoir définitivement condamnés, fut souvent payée, chez nombre de compositeurs, au prix de la disgrâce, À ce titre, il est remarquable de constater qu'un homme comme Merck, malgré une esthétique délibérément datée, n'en fut pas moins défendu par des musiciens aussi divers que Florent Schmitt, Charles Münch, Georges Auric, Edouard Souberbielle, et même Olivier Messiaen - et on est en droit de penser que sa musique, servie en son temps par des interprètes comme Walter Straham, José Iturbi, Yvonne Astruc, Yvonne Loriod et l'Ensemble Marie-Thérèse Ibos (création du quintette avec piano), ne saurait tomber dans l'oubli,Armand Merck laisse plusieurs pièces pour violon : Une première sonate dédiée à Eugène Ysaÿe, un Poème et un Andante dédié à la violoniste Madeleine Bloy-Souberbielle, fille de Léon Bloy,Alexis Galpérine Collection Le Violon Rouge / Violon Et Piano

This cycle of settings of poems by Paul Celan was written between May and July 1990 for Ute Lemper. The texts are taken from the following collections: 'Chanson einer Dame im Schatten' and 'Corona' from Mohn und Gedachtnis(1952), 'Nachtlich geschurzt' from Von Schwelle zu Schwelle (1955), 'Blume' from Sprachgitter (1959), and 'Es war Erde in ihnen' and 'Psalm' from Die Niemandsrose of 1963. The settings of 'Corona' and 'Blume' both introduce an eight-bar chord sequence derived from Chopin's Mazurka in A minor, Op.17 #4 (the introduction to which was used by Gorecki in his Symphony #3). Piano and voice version written in 1997 at the request of Hilary Summers. / Voix Alto Et Piano

Basson-fagott avec jeux corporel et percussions: grosse caisse et 3 blocs chinois.Une excellente occasion pour les jeunes musiciens de pratiquer la musique de chambre.Régis Famelart est né à Reims le 25 juillet 1963. Il est professeur certifié de percussion au conservatoire du XIIIème arrondissement de Paris puis à l'Ecole Municipale de Musique Agrée de Laon, dont il fût également le Directeur.Son activité d'enseignant se poursuit actuellement au Conservatoire National de Région de Nice où il dirige le département de percussion.Il est membre fondateur du quatuor Percu-Temps et timbalier de l'orchestre du Grand Théâtre de Reims.Plusieurs de ses compositions sont éditées et connaissent un vif succès. Il dirige la collection Azurythm, dédiée aux musiques des compositeurs de la Riviera / Percussions Et Basson

Cette partition Famelart Régis : Avide de Famelart Regis a été éditée par les éditions Dhalmann. La référence de cette partition est FD0071. Cette oeuvre d'une durée de 1 - 3 mn est idéale pour les musiciens qui ont un niveau Difficile et pour qui l'instrument pratiqué est Percussions. Après quelques heures de pratique, cette ouvrage n'aura plus de secret pour vous.Régis Famelart est né à Reims le 25 juillet 1963. Il est professeur certifié de percussion au conservatoire du XIIIème arrondissement de Paris puis à l'Ecole Municipale de Musique Agrée de Laon, dont il fût également le Directeur.Son activité d'enseignant se poursuit actuellement au Conservatoire National de Région de Nice où il dirige le département de percussion.Il est membre fondateur du quatuor Percu-Temps et timbalier de l'orchestre du Grand Théâtre de Reims.Plusieurs de ses compositions sont éditées et connaissent un vif succès. Il dirige la collection Azurythm, dédiée aux musiques des compositeurs de la Riviera / Vibraphone Solo

Edizione Critica F. Della Seta - Riduzione Per Canto E Pianoforte. Par ROSSINI GIOACHINO. 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 and repurposed 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. / Niveau : Intermédiaire / Répertoire / Chant et Piano

Series: Stefan Grossman's Early Masters of American Blues GuitarCategory: Guitar Method or SupplementFormat: Book and CDInstrument: GuitarThe Early Masters of American Blues series provides the unique opportunity to study the true roots of modern blues. Stefan Grossman, noted roots-blues guitarist and musicologist, has compiled this fascinating collection of 26 songs legendary blues guitarist Mississippi John Hurt. In addition to Stefan's expert transcriptions, the book includes a CD containing the John Hurt's original recordings so you can hear the music as it was originally performed.Mississippi John Hurt had a fascinating career, originally recording a handful of songs in the late 1920s, and, after disappearing for nearly 30 years, being rediscovered by a new generation of musicians that included Bob Dylan, Joan Baez, and Stephen Sills. Found in 1963 living in a small town in Mississippi, by an admirer who tracked him down through the lyrics of his 1928 single Avalon Blues, Mississippi John Hurt was persuaded to go to Washington, D.C. and start a new career. He spent the next three years performing and recording for a whole new group of fans. In addition to transcribing all the songs in this collection, Stefan Grossman was also a student of John Hurt.