The Real Vocal Book has many of the selections from volumes 1 and 2 of the instrumental Real Books, but now with the lyrics added to the pre-existing melody line.This songbook contains nearly 300 essential songs compiled especially for singers, including: Alfie, All of Me, Autumn Leaves, Bewitched, Bluesette, Don't Get Around Much Anymore, Fever, Georgia on My Mind, Misty, Moon River, My Funny Valentine, Satin Doll and more. / Voix Haute

Vingt-deux ballades populaires dans la mélodie simple ligne arrangements pour tous les claviers électroniques. Idéal pour les débutants, chaque chanson a symboles de corde, paroles, inscriptions suggérées, rythme et tempo. Les diagrammes de clavier facile à suivre au début de la pièce montrent toutes les voicings gauche corde utilisés. Inclut drôle comment Time Slips Away, I Can ' T Stop Loving vous et où est l'amour. / Chant Et Guitare / 48 pages / Partition

Edition de piano/orgue avec les paroles et les accords de guitare. Comprend ' Falling ', ' Mis là ', ' Simon Smith et la danse incroyable Bear ', ' Unchained Melody ' et ' Nikita '. / Chant Et Guitare / Partition

Par MC NEFF STEPHEN. My research for Banished began with a small group of students during a Trinity Laban co-lab period in 2013, though the idea goes back over 30 years when I first saw Steve Gooch’s Female Transport and stored the idea of adapting it as an opera until the right opportunity arose. I have been involved in opera for a long time and it has always been a frustration for me that while there is an abundance of female talent (particularly so in conservatories and colleges) there is a noticeable lack of challenging roles available for young women. The roles most often undertaken are maids or innocent girls, compliant wives or tomboys. Not that the problem is necessarily confined exclusively to young women, but where good roles exist, the women are all too often merely passive or victims. Things happen to them rather than them making things happen. They are unable to influence their circumstances and are usually resigned to their fate. Worse still, they are often judged in some way responsible for what happens to them, culpable even because of their looks, their way of life or a streak of independence. Just think about Mimi, Carmen and Violetta (to name only three on a long list). All these characters die, and their attempts at individuality contribute to their demise in some way that they have no control over. With some exceptions female characters in opera are too often sad, mad or bad. Redressing this balance and taking advantage of the richness in vocal talent is only one reason to write an opera reflecting the reality of a group of strong women who work things out for themselves. The transportation of people to Australia at the beginning of the nineteenth century is not a particularly well understood part of history beyond a sort of folk myth. What were the circumstances, who were the people and what happened to them? Opera does not exist to completely answer these questions, but it can focus on the women as individuals and help tell their story. (All the women named in the opera actually existed.) My approach has to been to put the women’s narrative centre stage and, in the confines of an oppressive, dangerous environment go with them on their journey as they survive or sink. The demands on the women are huge. At every turn they are oppressed by their jailers, the system that brought them here and their own low expectations. They have to work out ways to overcome these odds. We discover them through their music in solos and ensembles, sometimes reflective, at other times boasting about their lives a petty criminals and trying to establish status and pecking order. Alongside this I have used references to music of the time to create another reality built on larger ensembles and choruses. This is a sort of collective consciousness aware of loss, longing and context – even of a broad political dimension to the realities of Transportation. Despite the acute awareness of their circumstances in these ensembles, there is also a resilience and strength that transcends the individual stories. Stephen McNeff / Instrumental Music / Répertoire / Voix

Take your performances of rounds to a new level: as satisfying, characterful concert items. Old and new, they are provided with piano accompaniments for unison and part singing, introductions, and endings. Graded in difficulty from ‘Row, Row’ to ‘Summer Is A-Coming In’, there is something for everyone. / Choral Music / Recueil / Voix et Piano

Uses: General GraduationScripture: This inspirational work by Ken Medema and Gail Scott with its contemporary driving rhythm will be a delight to youth and young adult choirs as well as to those adult choirsthat are “young at heart.” Originally composed for the Young Calvinist Federation the message is that on our pilgrimmage as Christians we are bound for greater things. Hence Bound for Greater Things can beused anytime during the year especially on occasions when honoring graduates. Optional congregation participation allows everyone to catch the spirit and join in the journey toward greater things.

This newly updated edition includes 75 songs made famous on the silver screen: As Time Goes By · City of Stars · Endless Love · Footloose · Hallelujah · I Will Always Love You · Let It Go · A Million Dreams · Moon River · Over the Rainbow · Remember Me (Ernesto de la Cruz) · Shallow · Somewhere Out There · Tears in Heaven · Time Warp · Unchained Melody · The Wind Beneath My Wings · You're the One That I Want · and more./ Recueil / Piano/Vocal/Guitare (PVG)

Uses: General Thanksgiving Scripture: Joshua 6: I Samuel 17: I Kings 18:16-40: Hebrews 11:30 Stir things up with this lively original spiritual that is strong in message and arranged for success. The jazzy personality of this work is a delight for pianists to play and singers will enjoy the catchy melody that hints at familiar tunes. All in all this is a great choice for slim summer Sundays or any time you want to put the spirit of joy into your worship service.

After creating eight works for the stage Gilbert and Sullivan outdid themselves with a macabre farce set in the Far East. It is the most popular Gilbert and Sullivan opera and arguably the most popular opera ever written. This may have had something to do with the vogue for all things Japanese at the time but it is also due to the universal appeal of the characters - every culture has a bribe-hungry Pooh-Bah giggling schoolgirls and a pathetic elderly Katisha. This edition of the Chorus part includes all cues and a synopsis. It is edited by Bryceson Treharne.

Complete lyrics, guitar chord boxes and symbols for seventy classic unplugged songs. Includes music by The Rolling Stones, Dido, Moby, Blur, Badly Drawn Boy, REM and many more. / Niveau : Facile / Recueil / Piano, Chant et Guitare

Par CULLUM JAMIE. Momentum is Jamie Cullum 's sixth studio album. Produced, in part, by Jim Abbiss (Arctic Monkeys, Adele) and Dan The Automator (Kasabian, DJ Shadow), Jamie approached this record in a completely different way to his previous LPs, for the first time using DIY home demos as a blueprint for the majority of its tracks, and writing the majority of the songs himself. This artist approved, album-matching songbook features all songs from the album transcribed for piano and vocal with guitar chords by Cullum's musical director, Tom Richards, together with three bonus tracks as featured on the deluxe album version./ Recueil / Piano, Chant et Guitare

The surviving second and third acts of Catone in Utica, one of Metastasio's most dramatic libretti, premiered in Verona in the spring of 1737 in a setting by Vivaldi, contain some of his finest, most mature, and most original arias, and are published here for the first time. They evince a potential dramatic intensity that makes us regret all the more the loss of the first act. Only one aria of Act I can be definitely recovered from a surviving opera, but the rest has now also been successfully reconstructed by Alessandro Ciccolini, whose intimate knowledge of Vivaldi's working methods, combined with brilliant stylistic insight won universal acclaim for his work on Vivaldi's Motezuma and Ercole sul Termodoonte. Ciccolini has also composed cadenzas and da capo variations for all the arias, published here in an appendix.A complete recording under the direction of Alan Curtis is available from Naïve Records(OP30545).Press Quotes:'[For his completion,] Alessandro Ciccolini, who, mindful that Vivaldi frequently adapted vocal music for his instrumental works and vice versa, has composed the missing passages using themes from the concertos as his starting point. His arias dovetail beautifully with Vivaldi's scheme of things...' The Guardian'Ciccolini and Curtis deserve enormous credit for transforming an incomplete obscurity into a coherent and compelling opera.'Gramophone'The opera survives incomplete, but this is a fascinating and apt reconstruction and there is some marvellous stuff here.' BBC Music Magazine / Chant Et Piano

Wedding Essentials Series-Perfect for wedding planners musicians or the engaged this book/CD pack features 10 popular Christian favorites along with a full-performance CD so you can hear how the song sounds to help with your wedding decisions. Includes:Household of Faith * I Will Be Here * Love Will Be Our Home * This Day * and more.