Heart, Soul, and Voice

Outil pédagogique pour tous les jazzmen. Sélection de 16 standards arrangés pour voix basses. CD inclus avec l'enregistrement playback. Titres : Angel Eyes Bewitched Body And Soul Cherokee (Indian Love Song) Dancing On The Ceiling Dearly Beloved For All We Know God Bless' The Child How Insensitive (Insensatez) June In January Meditation (Meditacao) My Foolish Heart Quiet Nights Of Quiet Stars (Corcovado) Somebody Loves Me Thou Swell When Sunny Gets Blue

Enjoy a special selection of songs from the greatest female voices of music! Thirty-six classic songs from across the world have been assembled to celebrate the very best in female performance from the 1950s to the present day. Capture the poignant protest blues of Billy Holiday and Nina Simone, the sassy charm of Petula Clark and Nancy Sinatra, the powerful soul of Etta James and Aretha Franklin, the heartbreaking delicacy of The Carpenters or the bombastic performances of Tina Turner and Shirley Bassey. All the songs chosen have been arranged for Piano and Voice with Guitar chords. / Piano/Vocal/Guitare (PVG)

It was to her teacher Henri Busser professor of counterpoint at the Conservatoire de Paris that young composer and organist Henriette Roget (1910-1992) dedicated in 1934 the Four French Ballads composed to the poetry of Paul Fort (1872-1960). Nicknamed “the northern cicada” by Mistral this friend of Verlaine Mallarmé and Apollinaire began his career as a symbolist playwright at the Théâtre des Arts before deciding to focus exclusively on poetry. His French Ballads mingled popular feeling creative fantasy and rhythmic elasticity – an alliance that would inspire musicians as diverse asHonegger Caplet and Brassens. Roget detested works of bravura and bombastic grandiloquence; Paul Fort’s verse provided fertile material for her inclination toward sincerity spontaneity and unembellished lyricism. In “Le Bonheur” “Il nous faut aimer sur terre” “Si le bon dieu l’avait voulu” and “Le Diable dans la nuit” the music translates the beating of hearts and the vibrations of light with a delicacy and a naturalness that brush the very depths of the soul. Through each of these pure crystals a precious gift shines: the art of suggestion. I. Le Bonheur II. Il nous faut aimer sur terre III. Si le bon dieu l’avait voulu IV. Le Diable dans la nuit  

Par VOLPI ANDREA / GERINI ALESSANDRO. The series ?Scuola superiore di musica? was designed to suit the needs of students from beginning to intermediate-advanced music courses. Canto polivocale moderno is an anthology of rock ? pop/rock songs engraving for two three and four voices. It makes use of a rich material as scores lyrics and audio online to ensure more tools are available to students. / Date parution : 2023-01-24/ Recueil / Piano

This third solo album for piano, Go Your Own Way, is dedicated to the eternal question of which path to take in life. Twelve very emotional New Age pieces for piano take the pianist and the audience on a musical journey during which each of them follows his heart and his inner voice. The road of life is often rocky and paved with tears. And yet, everybody should take it as a fighter and leave his own mark. This requires courage and confidence in order not to despair or be broken. The bottom line of all this is that the way is the goal and that everybody has to go it. These expressive compositions are highly nuanced like piano playing, exciting, rich in contrast and exploring boundaries like life: melancholy and lamenting, comforting, affectionately soothing, motivating, confident, breath-taking, and passionate. / Piano

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

Par STING. A collection of 18 songs from one of the UK's most important, unpredictable and talented solo artists, all arranged for Piano, Voice and Guitar. Front-man, bassist, singer, songwriter, film star, activist and cultural critic, Sting's career has been built upon integrity and purpose. His singles reflect his life, times and surroundings in a way that is always candid and beautifully evocative. From the savvy jazz of Englishman In New York to the pure soul of If You Love Somebody Set Them Free , every song has become a musical world all of its own, and the very best are presented here for you to play and enjoy. This book is specially bound to help the pages lay flat while you are playing. / Niveau : Elémentaire / Rép International / Recueil / Piano, Chant et Guitare