Une collection de 26 normes spécialement sélectionnés et originaux magnifiquement arrangé par le maître du ukulélé grande, Herb Ohta (Ohta-San). Toutes les chansons sont arrangées pour GCEA (accordage standard) ukulélés à l'écoute.On y trouve aussi un CD de 15 chansons interprétées par Herb Ohta lui-même! Ce volume complète ukulélé dispose également d'une préface de Jumpin 'Jim Beloff, une biographie et un entretien avec des herbes Ohta, et des notes sur la façon d'utiliser le livre. / Ukulélé

Jouez une chanson différente chaque jour avec ces arrangements faciles de 365 grands standards mondiaux. Vous trouverez la mélodie, les paroles complètes et les diagrammes d'accords ukulele ainsi qu'une petite section technique comprenant des 'trucs et astuces', un petit dictionnaire d'accords et des photos sur le thème du ukulele. / Ukulélé / 314 pages / niveau : Facile / Partition

The second volume of a thousand and one all-time hit songs ranging from essential standards to the latest pop hits - a must for all singers and musicians. / Chant Et Guitare

A Melodrama Interspersed With Music. Par BENDA GEORG. Georg Anton Benda's melodrama „Medea' (1775) was one of the most successful German musical theatre works of the late 18th century. With a libretto by Friedrich Wilhelm Gotter, the work soon became a great influence within the melodrama genre. For several decades, it was performed all over central Europe, developing an impressive reception history. Between 1775 and about 1790, the melodrama was considered an extremely popular (albeit controversial) part of musical theatre, in particular in German-speaking regions. Consequently, Benda's „Medea' was at the center of many heated debates. Unlike opera, the melodrama does not present the libretto in sung form, but rather, the text is spoken and combined with orchestral music and scenes. The traditional opera forms (aria, recitative, ensemble, chorus) are dissolved and replaced by a new interplay of music, speech, and scenes. A focus on a single protagonist and the quick, delicate alternation between spoken text and music allows for the development of conflicting and contradictory psychological profiles with a heightened intensity within the melodrama. Near the end of his life, Benda revised the work significantly, drawing from his experience of real performances and their effectiveness. The changes leading to the new version of his „Medea' music were quite extensive, affecting almost every single measure: numerous details of the part writing (tempi, voice leading, rhythms, accompanying figures etc.) were revised, the instrumentation was changed, middle voices were led in a more lively manner, and the music as a whole was shortened and effectively compressed. The composer regarded the latter, modified „Medea' as the authorized version of the work. The premiere took place in 1784 in Mannheim, however, the altered work received little attention since then and has become tangible again for the first time with the OPERA Edition. All previous editions of the work - and along with them, all previous recordings - are based on the earlier version of 1775. The third volume of the OPERA series 'Medea” contains a linen-bound book and the edirom on a USB stick in credit card format. The number of users permitted to simultaneously use the digital content of the edition is not limited. For further information regarding the work and the OPERA series, please visit www.opera-edition.com and Takte online/ Répertoire / Récitant et Orchestre

Le Cheat Sheets Hal Leonard série comprend un combo d'accords, les paroles et les onglets, donc pas de lecture de la musique est nécessaire! Toutes les chansons sont présentées sur deux pages doubles pour éviter les changements de page.Profitez d'apprendre à jouer des chansons plus facilement que jamais avec cette notation cut-to-the-chase!Cette édition comprend 100 hymnes rock: Beautiful Day - Black Hole Sun - Face Down - The Freshmen - Friday I'm in Love - Girlfriend - Grenade - Head like a Hole - I Alone - Monkey Wrench - Moves like Jagger - Rolling in the Deep - Scar Tissue - Sex on Fire - Smells like Teen Spirit - Smooth - This Love - Wish You Were Here - You Oughta Know / Guitare

Edgar Knecht is a jazz pianist who has created his own unique style. His début CD, 'Good Morning Lilofee? (with four-piece combo), conquered the clubs and earned him invitations to international festivals. His treatment of the original melodies is refreshingly different from standard jazz arrangements: It is characterized by a free perception of the tunes, varied rhythms as well as unconventional harmonies. The same recipe for success underlies his second CD, 'Dance On Deep Waters?, with which the Edgar Knecht Quartet is again going on tour, with many gigs lined up for spring and summer.All eight of the songs in our edition offer agreeable and stimulating literature outside the classical and jazz pigeonholes for pianists everywhere, whether or not they dig German folksongs. Familiar tunes such as 'Es freit der wilde Wassermann? or 'Die Gedanken sind frei? gain a wholly new quality and pizzazz in his arrangements. Though based on the original songs, the pieces go far beyond them in form, harmony and rhythm, thereby turning the originals into top-quality jazz ballads. All the pieces have suggestions for improvised passages, usually with chords and written-out ostinato bass lines.All the pieces are recorded on the like-named CD with Edgar Knecht at the piano, accompanied by his trio of bass, drums and percussion.- Eight songs for piano- Appealing literature- Ad lib improvised partsContentsLilofee, Gedankenfreiheit (Freedom of Thought), Tiefe Wasser (Deep Waters), Nachttraum (Dream at Night), Fenjas Lullaby, Schwesterlein (Little Sister), Frühling (Spring), Wiegenlied (Cradle Song)The AuthorEdgar Knecht lives in Kassel (Germany), where he heads a piano school and tours with his combo. Since the age of 14 he has held concerts with his own piano pieces and written many theatre, film and TV scores. With his Edgar Knecht Trio he transforms German folksongs into fascinating jazz ballads with which he fills his programmes and venues. / Piano

Third edition of the world's biggest songbook. This is a vast bumper collection, perfect for buskers, of 1001 all-time hit songs.Whatever your taste, there's guaranteed to be tonnes of songs you'll want to play, this book will last you years!Inside the spiral bound cover you will find a generous selection of hit songs, golden standards, jazz and blues numbers, classical pieces, hymns, gospel songs, stage, film and musical music! Arranged here in Melody line arrangements for Piano, Organ, Electronic Keyboards, Guitar and all C instruments, complete with lyrics and chord symbols. / Ligne Mélodique, Paroles Et Accords (Avec Grilles D'Accords)

Instrumentation: piano Edition: score Publisher: Eberhard Mayer OEuvres pour piano/Klaviermusik/Piano Music Edition en 10 recueils/Edition in 10 Bänden/Edition in 10 volumes Volume 1: Femmes de Légende Editor: Eberhard Mayer Item no.: fue 4180 Difficulty: medium ISMN: 979-0-50012-918-9 Contents: Mélisande, Desdémona, Ophelie, Viviane, Ph?bé, Omphale und Salomé The pieces for piano represent a great stylistic variety. One gets the impression that Mel Bonis may have intended to give a summary of musical development, not quoting historic styles but adapting the past through her personal tone and to translate it into contemporary musical language. The first volume includes an original series of musical portraits dedicated to legendary women, where Mel Bonis explores the enigmatic feminine universe. ?Femmes de légende? A collection we have called ?Femmes de légende? contains seven piano pieces by Mel Bonis named after women whose fates have become legendary. They have not always been arranged in this way. The first piece, ?Mélisande?, was published separately by Alphonse Leduc in 1898. In 1909, a collection called ?Trois pièces pour piano? (Three pieces for the piano), dedicated to the composer Paul Locard and which included ?Ph?bé?, ?Viviane? and ?Salomé?, was published by Leduc. In 1913, ?Mélisande? was added to the four last pieces for a final collection called ?Cinq pièces?. ?Omphale? appeared in a Berlin edition ?Signale für die musikalische Welt? in 1910. As to ?Ophélie?, it was never published in Mel Bonis? lifetime and we discovered a manu-script in 1997 without any indication at all of when it was writ-ten. ?Ophélie? was first published by the publishing house Ar-miane in Versailles in 1998. Mélisande (1898) Written before Debussy?s famous opera, Mel Bonis? piano piece ?Mélisande? was also inspired by the poet Maeterlinck (Mélisande, 1893). These short pages of magical harmonies, of radi-ant impressionist colours use music to describe Mélisande?s hair as described by Pelleas: ?your hair and its beautiful light... It escapes everywhere, it shivers, it shakes, it trembles in my hand like a golden bird.? This piece enjoyed quite a success in Mel Bonis? lifetime. She noted of it ?my favourite? in the margin of her hand-written catalogue. Desdémona (1913) The female heroine in Shakespeare?s ?Othello? inspired Mel Bonis to write a nostalgic piece with a fairly easy, rather classical beginning, a kind of romance without words, of great elegance and of a deep and melancholic beauty. Ophélie Ophelia, the lover of Shakespeare?s Hamlet, is a deeply melan-cholic character who goes mad and drowns in mysterious cir-cumstances. Ophelia inspired the poet Rimbaud and the painter Millais ? each of them created a masterpiece. Mel Bonis too evokes images of water, sadness and death in music for a third work of art. With its delicate and chilling beauty and also with its moments of passion, this impressionist piece - the work which owes most to Debussy - calls for great intelligence when performed. Viviane (1909) The figure of the fairy of the lake is musically described here in a well-structured, many-facetted piece; first of all, the initial dancing theme has an air of the ?salon? about it, typical of its time, evoking the fairy?s charm, her smile. Then follow succes-sions of majestic chords and fluent harmonies which represent the underwater castle and the fairy?s power. This piece is easily approachable. Ph?bé (1909) The sister of Phoebus, the sun, symbolises the moon, the night, chastity. The piece creates an impression of night. Steeped in twilight, languor and a sense of immense space, the atmosphere is one of unreality. This feeling of alienation is reinforced by the incoherence of rhythm between the two hands. Salomé (1909) Inspired by the Orient, Mel Bonis creates a very original musical illustration of the biblical character of Salome. She is characterised by shifting moods in which slow syncopes follow light glissandos, and urgent, mysterious psalmodies accompany sensual melopeias, where surprising tempo varia-tions lead to outbreaks of violence. With its relatively difficult beginning, this piece is especially interesting from the viewpoint of research into interpretation. Omphale (1910) The queen of Lydia is a female character from the violent depths of Greek mythology. This powerful female is described here with glittering sensuality and Oriental subtlety. The impressive work shows a complex structure both in harmony and rhythm, it is a lively and rich work which calls for much thought and great virtuosity on the performer?s part. ?Omphale? was awarded a prize for composition by the Berlin magazine ?Signale für die musikalische Welt? in 1910.

A superb four-volume collection of over 180 solos for the intermediate level Pianist. Includes popular film and show tunes - themes and songs from top TV shows - and classical favourites from choral works, concertos, ballets, operas and symphonies. / Piano

The Little Black Book Of 5-Chord Songs follows on from the successful 4-chord Little Black Book and featuring songs such as The Scientist, A Good Heart, Mad World and Take A Chance On Me , to name a few. / Guitare