Par MARINA / THE DIAMONDS. Marina Lambrini Diamandis , better known by her stage name Marina and the Diamonds , is a Welsh singer-songwriter who rose to fame after reaching number two on the BBC Sound of 2010 poll list, coming second to Ellie Goulding. This songbook is an artist-approved, deluxe edition matching folio to Marina's debut album, Family Jewels . Contains all the songs from the album arranged for Piano and Voice with Guitar chords, along with four pages of colour photos. CONTENTS: Are You Satisfied? - Shampain - I Am Not A Robot - Girls - Mowgli's Road - Obsessions - Hollywood - The Outsider - Hermit The Frog - Oh No! - Rootless - Numb - Guilty / Niveau : Intermédiaire / Recueil / Piano, Chant et Guitare

Les fans de Pink Floyd qui jouent du piano savent que certaines chansons du groupe lgendaire sont particulirement bien adaptes pour tre joues sur des instruments clavier. Il s'agit notamment de The Great Gig in the Sky, High Hopes, Nobody Home, et bien d'autres encore - et elles sont toutes runies dans cette anthologie de partitions collectionner. Vous trouverez galement une varit de hits les plus populaires du groupe, issus de cinq de leurs albums les plus connus, pour une vie entire de plaisir au clavier. Titres : Another Brick in the Wall (Part II) - Comfortably Numb - Goodbye Blue Sky - The Great Gig in the Sky - Have a Cigar - Hey You - High Hopes - Mother - Nobody Home - Pigs (Three Different Ones) - Run Like Hell - Shine on You Crazy Diamond - Stop - The Trial - Us and Them - Waiting for the Worms - Wish You Were Here.
1. Hey You [Pink Floyd]
2. Wish You Were Here [Pink Floyd]
3. Mother [Pink Floyd]
4. Have A Cigar [Pink Floyd]
5. Stop [Pink Floyd]
6. Nobody Home [Pink Floyd]
7. Another Brick In The Wall [Pink Floyd]
8. High Hopes [Pink Floyd]
9. Run Like Hell [Pink Floyd]
10. Us And Them [Pink Floyd]
11. Pigs (Three Different Ones) [Pink Floyd]
12. The Great Gig In The Sky [Pink Floyd]
13. Shine On You Crazy Diamond (Parts 1-7) [Pink Floyd]
14. Trial, The [Pink Floyd]
15. Goodbye Blue Sky [Pink Floyd]
16. Comfortably Numb [Pink Floyd]
17. Waiting For The Worms [Pink Floyd]
/ Partitions variété - pop - rock / Variété française / Piano voix guitare / HAL LEONARD

Composed in 1823 but not performed during his lifetime, Franz Schubert's Fierabras is a 'number opera? with spoken dialogue in the manner of opéra comique. It is based on the medieval legends associated with Charlemagne, including that of Eginhard and Emma, and draws on the old French heroic epic (chanson de geste).Emma, the daughter of Charlemagne secretly loves the knight Eginhard who is not befitting of her rank. The heathen Moorish prince Fierabras who, after being defeated by Charlemagne, falls into French captivity and converts to Christianity, is also in love with Emma. His sister Florinda on the other hand loves the Franconian knight Roland who is being held prisoner by the Moors and whom she helps to escape. After several military conflicts where Charlemagne's army finally conquers the Moors, the lovers reunite. Only Fierabras who is reprieved, renounces his love and accepts the liaison between Emma and Eginhard.- Urtext edition based on the 'New Schubert Edition?- Detailed foreword (Ger/Eng) by Christine Martin, including information on the work's genesis, reception and performance history - Uncluttered idiomatic piano reduction / Piano

Une collection regroupant 72 des plus grands standards de la pop internationale spécialement transcrits pour Piano, voix et diagrammes d'accords guitare.Titres : A Design For Life [Manic Street Preachers] - Black And White Town [Doves] - Bring Me To Life [Evanescence] - Come Away With Me [Jones, Norah] - Country Girl [Primal Scream] - Driftwood [Travis] - Drops Of Jupiter [Train] - Good Souls [Starsailor] - Hallelujah [Buckley, Jeff] - Heartbeats [Gonzalez, Jose] - How To Save A Life [Fray, The] - How You Remind Me [Nickelback] - In The Morning [Coral, The] - Ironic (Acoustic Album Version) [Morissette, Alanis] - Journey From A To B [Badly Drawn Boy] - Lullaby [Mullins, Shawn] - Naive [Kooks, The] - Natures Law [Embrace] - Never Be Lonely [Feeling, The] - Nightswimming [R.E.M.] - Put You Records On [Rae, Corrine Bailey] - Same Jeans [View, The] - Smile [Allen, Lilly] - Smile [Allen, Lily] - Somewhere Only We Know [Keane] - Sophia [Pallot, Nerina] - Speed Of Sound [Coldplay] - Suddenly I See [Tunstall, KT] - Take A Chance [Magic Numbers, The] - The Bucket [Kings Of Leon] - They Can't Buy The Sunshine [Turin Brakes] - Tumble And Fall [Feeder] - Valerie [Zutons, The] - Waterfall [Stone Roses, The] - When You Were Young [Killers, The] - Wherever You Will Go [Calling, The] - Wonderwall [Oasis] - Wonderwall [Oasis] - You Give Me Something [Morrison, James] - You Had Me [Stone, Joss] - Ashes [Embrace] - Cannonball [Rice, Damien] - Crazy (James Michael Mix) [Morissette, Alanis] - Dakota [Stereophonics] - Dream Catch Me [Faulkner, Newton] - Everybody Here Wants You [Buckley, Jeff] - Jenny Don't Be Hasty [Nutini, Paolo] - LDN [Allen, Lily] - Like A Star [Rae, Corinne Bailey] - Love Me Like You [Magic Numbers, The] - One Horse Town [Thrills, The] - Other Side Of The World [Tunstall, KT] - Over My Head (Cable Car) [Fray, The] - Pressure Suit [Aqualung] - Rocks [Primal Scream] - She's Got You High [Mumm-Ra] - Should I Stay Or Should I Go [Clash, The] - Silence Is Easy [Starsailor] - Smokers Outside The Hospital Doors [Editors] - Something To Talk About [Badly Drawn Boy] - Song 4 Mutya (Out Of Control) [Groove Armada] - Take Her Back [Pigeon Detectives, The] - Tender [Blur] - Torn On The Platform [Penate, Jack] - Walk On The Wild Side [Reed, Lou] - Wasted Little DJ's [View, The] - What's The Frequency, Kenneth? [R.E.M.] - Why Does It Always Rain On Me? [Travis] - Why Won't You Give Me Your Love? [Zutons, The] - Worried About Ray [Hoosiers, The] - Yellow [Coldplay] - Young Folks [Moren, Peter] [Eriksson, John] [Yttling, Bjorn] - Your Love Alone Is Not Enough [Manic Street Preachers] / Piano/Vocal/Guitare (PVG)

Paperback-Singing By Numbers is a celebration of singing in all it's various forms. It includes an assortment of texts on the subject from sources as diverse as Spike Milligan Thomas Ravenscroft and the Song Of Solomon. The emotional heart of the piece is a moving setting of Sassoon's Everyone Sang. The seven short movements include items for upper (or children's) voices and men's voices as well as the full choir and all of them may be performed seperately.

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: All for You (Saturday Night) * Autumn (Starting Here, Starting Now) * Ballad of Dependency (The Threepenny Opera) * The Boy Friend (The Boy Friend) * Bring on Tomorrow (Fame -- The Musical) * Goodbye, Little Dream, Goodbye (Anything Goes 1988 Revival) * I Speak Six Languages (The 25th Annual Putnam County Spelling Bee) * I'm a Stranger Here Myself (One Touch of Venus) * Jilted (Of Thee I Sing) * Just Imagine (Good News) * A Little Bit in Love (Wonderful Town) * A Little Bit of Good (Chicago) * Long Ago (Half a Sixpense) * Love in a Home (Lil' Abner) * Love Is Sweeping the Country (Of Thee I Sing) * Mira (Carnival) * My Love Is on the Way (The Golden Apple) * My Man's Gone Now (Porgy and Bess) * Once Upon a Dream (Jekyll & Hyde) * Only Love (Scarlet Pimpernel) * Patterns (Closer Than Ever) * Practically Perfect (Mary Poppins -- Stage Version) * Romance (The Desert Song) * Safety in Numbers (The Boy Friend) * The Sailor of My Dreams (Dames at Sea) * Some Other Time (On the Town)* The Sun Whose Rays Are / Instrumental Music, Miscellaneous, Songbooks, Voca / Recueil / Voix et Piano

Vocal Selections-The original Tony-nominated version of this Neil Simon play starred Sid Caesar and the 1998 revival won a Tony for Martin Short who took over the lead role. Our folio features a dozen highlights from the show: Deep Down Inside · Dimples · Don't Ask the Lady What the Lady Did Before · Here's to Us · I Wanna Be Yours · I've Got Your Number · Le Grand Boom Boom · Little Me · On the Other Side of the Tracks · Poor Little Hollywood Star · Real Live Girl · To Be a Performer. All songs are in standard piano/vocal format with the melody in the piano part.

Par PORTER COLE. All aboard for Cole Porter's saucy and splendid musical romp across the Atlantic! When the S.S. American heads out to sea, etiquette and convention head out the portholes as a comically eclectic cast of characters sets off on the course to true love. Peppering this hilariously bumpy ride are some of musical theatre's most memorable standards, including 'I Get a Kick Out of You,' 'You're the Top,' 'It's De-Lovely,' and of course, 'Anything Goes.' All of the music in this edition has been newly engraved for easier reading, and additional original Cole Porter lyrics have been added to match revisions applied to several of the songs during major Broadway revivals in recent decades. Titles: I Get a Kick Out of You * You're the Top * Easy to Love * Friendship * It's De-Lovely * Anything Goes * Public Enemy Number One * Blow, Gabriel, Blow * Goodbye, Little Dream, Goodbye * Be Like the Bluebird * All Through the Night * The Gypsy in Me * Buddie, Beware. / Miscellaneous, Scores, Songbooks / Recueil / Voix et Piano

Domine, ne in furore · Jubilate Deo omnis terra. Par ROTA NINO. In this setting for mezzo-soprano and organ by Nino Rota, two well-known psalms are published for the first time: psalm 6, 'Domine, ne in furore' ('O Lord, rebuke me not in Thine anger') and psalm 99 (Greek and today's numbering in Catholic bibles) or 100 (original Hebrew and today's numbering in Protestant bibles), 'Jubilate Deo omnis terra' ('O be joyful in the Lord, all ye lands'). This first edition adds another exciting facet to the oeuvre of Nino Rota who achieved worldwide fame as composer of film musics for Fellini, Visconti und Zeffirelli./ Répertoire / Mezzo-Soprano et Orgue

Gospels and sacred hymns have become increasingly popular in the choral world, especially at Christmas. Their contents and melodies have delighted, deeply moved and comforted many generations. 'Christmas Gospel Hymns' presents a collection of the most beautiful Christmas gospel hymns in easy to intermediate arrangements in pop and swing style. The movements include chord numbering and piano accompaniment, yet can also be sung a cappella. Known throughout the world, all gospels and hymns are in English. / Choeur Mixte Et Piano

Here is a fantastic novelty number for your seasonal programming. The joy of holiday singing wrapped in a southern gospel package that will set your toes to tapping. Incorporating three well known spirituals this happy numberstarts with “Mary Had a Baby” and “Rise Up Shepherd and Follow” and ends with a challenge to “Go tell it on the mountain.” Sure to delight!

Ed. critica di Martin Deasy - Riduzione per canto e pianoforte. Par PUCCINI GIACOMO. Here, appearing for the first time, is the piano vocal score of Le Willis, Giacomo Puccini’s first stage work, whose full score remained unpublished until 2020, when it was issued by Casa Ricordi (NR 139546).The critical edition by Martin Deasy is based, as far as the first six Numbers are concerned, on the autograph score that Puccini reutilized for composing Le Villi. The autograph pages incorporating the final Number – pages that were later removed, in order to make space for the new material produced for Le Villi– are also proposed as the principal text.Pursuing an innovative philological approach, the editor has, furthermore, taken into due consideration the contemporaneous printed editions of the piano vocal score, on the assumption that they constitute the principal collateral sources, if one considers the particular genesis of this work. For it is certain that Puccini, upon entering the Sonzogno competition, submitted a score of Willis that lacked proper orchestration in a few pages and displayed, above all, incomplete vocal lines. However, he also provided a manuscript reduction for piano and vocal score (now lost, except for the final Number of Willis) that was undoubtedly more detailed, as far as the vocal lines were concerned. The editor proves that the vocal material produced for the first performance of Willis was not copied from the autograph score, but from the lost score reduction. The latter also served as the basis for the preparation of Ricordi’s printed edition of the piano vocal score./ Répertoire / Chant et Piano

In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clear that there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor:different articulation and dynamic markings something Britten was later very fussy about but perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of musicpublishing. Others were more important: wrong pedal notes for example which Britten failed to notice on proof and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected inthe new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal score to prepare his orchestral version). The two versions have been made consistent in other details - rehearsal cues andbar numbers for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (arare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated stringwriting while the spacing of chords is frequently much wider in the string version with melodies transposed into different octaves. Although harmony in both versions is identical voice leading is sometimes altered in the latterto make it better suited to the idioms of the instruments concerned.So although in essence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither beviewed as an occasional piece nor considered solely a liturgical work like many of his choral pieces from the 1930s and 1940s it is equally at home in church and concert hall.

From Einstein On The Beach-Einstein On The Beach the opera from which Knee Play 3 was extracted was a seminal work that broke all the rules being non-linear non-narrative episodic dreamlike and five hours long.Knee Play 3 is one of the number songs composed for scene changes using numbers and solfege syllables as text. American composer Philip Glass is widely known as one of the most celebrated influential and prolific of the modern composers. He is frequently referred to as a minimalist though he prefers to call himself a composer of ‘music with repetitive structures.' Glass' operas among them therenowned Einstein On The Beach are performed across the globe and he has created work for small and large ensembles film and experimental theatre and founded his own performing group The Philip GlassEnsemble.This eight minute piece is the third Knee Play from Einstein On The Beach and is scored for unaccompanied SATB chorus.