Compilations regroupant les plus grands titres d'un genre musical spécialement regravées en piano, voix et diagrammes d'accord guitare ou en piano solo en format A4 spiralé afin qu'il reste 'plat' sur le support du piano.Titres : 42nd Street (from 42nd Street) - Aquarius (Hair) - Being Alive (Company) - Can You Feel The Love Tonight (The Lion King) - Can't Take My Eyes Off You (Jersey Boys) - Consider Yourself (Oliver!) - Dancing Queen (Mamma Mia!) - Defying Gravity (Wicked) - Electricity (Billy Elliot) - Footloose (Footloose) - Hopelessly Devoted To You (Grease) - Hushabye Mountain (Chitty Chitty Bang Bang) - I Don't Know How To Love Him (Jesus Christ Superstar) - I Dreamed A Dream (Les Miserables) - I Know Him So Well (Chess) - If My Friends Could See Me Now (Sweet Charity) - The Last Night Of The World (Miss Saigon) - Losing My Mind (Follies) - The Music Of The Night (Phantom Of The Opera) - My Favourite Things (The Sound Of Music) - Oh, What A Beautiful Mornin' (Oklahoma!) - Ol' Man River (Showboat) - Over The Rainbow (The Wizard Of Oz) - Part Of Your World (Little Mermaid) - Pretty Women (Sweeney Todd) - Pure Imagination (Charlie And The Chocolate Factory) - Singin' In The Rain (Singin' In The Rain) - Smoke Gets In Your Eyes (Roberta) - Superstar (Jesus Christ Superstar) - Take That Look Off Your Face (Tell Me On A Sunday) - There's No Business Like Show Business (Annie Get Your Gun) - Top Hat, White Tie And Tails (Top Hat) - When I Grow Up (Matilda) - A Whole New World (Aladdin) / Piano/Vocal/Guitare (PVG)

Par BERTRAND ELISE. « Si les artistes rendent si rarement compte de leurs instants d'inspiration, la raison en est bien simple: c'est qu'à ces moments-là du processus créateur ils ne sont nullement présents par la conscience. Ils ne peuvent pas davantage s'épier psychologiquement au cours de la création elle-même qu'ils ne peuvent, par-dessus leur épaule, se regarder écrire. » Egon Schiele « Artists: Sometimes the best way to address a problem in your work is to go in the cage with it and let it devour you. » Jerry Saltz Ces deux maximes qui décrivent à merveille ce que je peux ressentir au moment d'écrire à propos de ma dernière ?uvre pour piano Dans les abysses de lumière. Composée en parallèle de ma Sonate pour violon seul, mon ?uvre pour piano Dans les abysses de lumière op.17 (2021-2022) est un retour aux sources important, comme a pu l'être chaque retour à la composition d'une ?uvre pour piano (Préludes op.1 en 2014-2015, puis le Poème, op.5 en 2016, les Quasi Variazioni op.7 en 2018). La sensation de ressourcement lors de l'écriture pour piano seul vient intimement de mon enfance, où le piano est arrivé dans ma vie dès mes cinq ans. Chaque ?uvre pour piano que j'ai écrite marque un tournant dans mon rapport à la composition, une étape nouvellement franchie. Avec cet op.17, c'est un regard plus distancié et ouvert que j'ai posé sur la structure, le langage, le rapport au temps et à la dissonance. Durant un an, sans contrainte de temps, je suis revenue périodiquement à la composition de cette pièce, sans y toucher parfois pendant des semaines entières. J'y percevais alors des paysages, des couleurs, des instants de vie qui se faisaient écho. Puis, l'obsession revenait et je composais d'une traite un pan entier. La pièce en « cours de composition » vivait à mes côtés. Élise BERTRAND / Date parution : 2023-06-01/ Etude / Piano

Par RAVEL MAURICE. It was unmistakably Liszt’s piano piece “Les jeux d’eau à la Villa d’Este” that inspired Ravel to compose one of his most famous works in 1901: “Jeux d’eau”. Laid out in sonata form, its sound is governed by myriad motions of water and sustained by innovative, highly virtuosic piano textures against a freely migrating and richly coloured harmonic backdrop. Nicolas Southon has re-evaluated the work’s many sources, including memoirs from musicians close to Ravel such as Vlado Perlemuter, Jacques Février and Hélène Jourdan-Morhange. Special attention has been devoted to the original part-writing in Ravel’s notation. Rounding off the new edition are an informative Foreword, atrilingual glossary as well as fingering and notes on performance by Ravel specialist Alexandre Tharaud. It was unmistakably Liszt’s piano piece “Les jeux d’eau à la Villa d’Este” that inspired Ravel to compose one of his most famous works in 1901: “Jeux d’eau”. Laid out in sonata form, its sound is governed by myriad motions of water and sustained by innovative, highly virtuosic piano textures against a freely migrating and richly coloured harmonic backdrop. Nicolas Southon has re-evaluated the work’s many sources, including memoirs from musicians close to Ravel such as Vlado Perlemuter, Jacques Février and Hélène Jourdan-Morhange. Special attention has been devoted to the original part-writing in Ravel’s notation. Rounding off the new edition are an informative Foreword, atrilingual glossary as well as fingering and notes on performance by Ravel specialist Alexandre Tharaud. It was unmistakably Liszt’s piano piece “Les jeux d’eau à la Villa d’Este” that inspired Ravel to compose one of his most famous works in 1901: “Jeux d’eau”. Laid out in sonata form, its sound is governed by myriad motions of water and sustained by innovative, highly virtuosic piano textures against a freely migrating and richly coloured harmonic backdrop. Nicolas Southon has re-evaluated the work’s many sources, including memoirs from musicians close to Ravel such as Vlado Perlemuter, Jacques Février and Hélène Jourdan-Morhange. Special attention has been devoted to the original part-writing in Ravel’s notation. Rounding off the new edition are an informative Foreword, atrilingual glossary as well as fingering and notes on performance by Ravel specialist Alexandre Tharaud. / Niveau : 5 / Répertoire / Piano

Par ROSE DE. Je crois que nous pouvons enseigner le piano jazz en ignorant l'héritage classique, mais je n'aurait pas être mal compris : c'est tout simplement parce qu'il est déjà entièrement filtré dans la culture du jazz-enseigner les principes de jazz et de l'élève en même temps sur l'instrument et en tant qu'un compositeur et improvisateur : c'est l'objectif-nous devons avant tout jouer, seul ou avec d'autres, relaxant ' jeu ' pour se rapprocher de l'expression de l'art. / Jazz / Méthode / Piano

Per potersi esprimere pienamente al pianoforte bisogna essere capaci di muovere le mani l?una indipendentemente dall?altra. Ma attenzione le due mani devono essere perfettamente coordinate il che non è mica così semplice! Questo metodo propone quindi di migliorare l?indipendenza e la coordinazione delle mani in maniera molto progressiva? ma anche pienamente musicale. Ogni difficoltà messa in evidenza tramite un esercizio tecnico sarà immediatamente dopo applicata su un piccolo brano in modo che la tecnica rimanga costantemente al servizio della musica. In questo primo volume lo studio inizia tranquillamente con lefigure musicali di base cioè le semibrevi e le minime poi le semiminime e le crome senza dimenticare le relative pause. Il che implica già parecchio lavoro considerando tutte le figure e combinazioni possibili! Sul disco dati allegato al metodo troverete numerosi file audio e video. I video (mp4) presentano tramite l?immagine gli esercizi ed i brani così come devono essere suonati. Le registrazioni audio (mp3) invece propongono le basi musicali corrispondenti a due velocità diverse. Potrete in questo modo suonarci sopra i brani proposti.

An Expedition into Czech Piano Music
A collection of pieces for early intermediate pianists
- Cross-section of Czech piano literature from the 18th to the late 20th century
- Works selected and provided with fingering by piano virtuoso Ivo Kahánek
- Pieces of easy to moderate technical difficulty
The leading Czech pianist Ivo Kahánek has long devoted himself to training young musicians. With this album of recital pieces he offers young pianists quite easy pieces by well-known Czech composers.
The collection provides a cross-section of Czech piano literature from the 18th to the late 20th century. It contains pieces from the Czech classical period (Benda and Dusík), 19th-century and ?fin-de-siècle? romanticism (Vorí?ek, Smetana, Dvorák, Fibich, Suk and Novák) as well as pieces of various styles from the latter half of the 20th century (Vre?tál, Kabelác, Eben, Slavický, Dlouhý and Sluka). Fingering has been supplied by the editor to support pianists in their playing. All the pieces appear in their original form; they have neither been arranged nor adapted.
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- Benda, Jirí Antonín
Sonatina III A minor
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- Dusík, Jan Ladislav
Chansonette
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- Vorí?ek, Jan Vaclav Hugo
Rondo G major
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- Smetana, Bedrich
Friendly Landscape
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- Smetana, Bedrich
Souvenir
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Polka G minor
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- Dvorák, Antonín
Humoresque G-flat major
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- Dvorák, Antonín
Goblins' Dance
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- Fibich, Zdenek
Reminiscence
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- Suk, Josef
Idylls
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- Novák, Vítezslav
Devil´s Polka
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- Janácek, Leo?
The Frýdek Madonna
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- Janácek, Leo?
The Barn Owl has not Flown Anway!
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- Janácek, Leo?
Come with us!
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- Martinu, Bohuslav
Colombine Dances
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- Martinu, Bohuslav
Harlequin
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- Vrestál, Jirí
Study in Sixths
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- Kabelác, Miloslav
Preludio ostinato
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- Eben, Petr
Bells befor the Lights go out
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- Dlouhý, Milan
Bagatelle No. 2
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Swans
/ Partitions classique / Piano - instruments à clavier / Piano / BARENREITER

Par FERTE ARMAND. The scarcity of practice collections devoted to a speciality defined problem of technique has often been deplored by both teachers and pupils. However, Masters of piano playing have written such collections whose number is countless and which deal with difficulties of all kinds. Unfortunately, they are spread over a very large number of music books. The volumes referred to above countain a sufficiently great number to allow counteracting this dispersion. Each collection embraces only the studies intended solely for one of the manifold particularities of piano technique. Carefully revised and judiciously chosen, they will help the pupil to correct efficiently, certain weaknesses in his technique and thus improve systematically, his piano playing as a whole. / Études et exercices / Etude / Piano

While many 19th century composers wrote music for keyboard instruments few devoted themselves as diligently to writing for the Piano as did Frederic Chopin. His love for the Piano was immense and his etudes were revolutionary and still present an historically significant system of playing. The melodies contained in this collection are as beautiful and captivating as any Piano literature. The teaching side of Chopin is reflected in his Etudes and this edition ensures that his diligent pedagogy and melodic genius are faithfully represented.

The Piano Improvisation Handbook offers a comprehensive overview of the practical skills and theoretical issues involved in mastering all forms of Piano improvisation including classical jazz rock and blues.Whereas most books offer little more than models for imitation and exercises for practicing this one adopts an approach specifically designed to encourage and enable independent creative exploration. The book contains a series of graded tutorial sections with musical examples on CD as well as an appendix listing useful scales chords voicings and progressions across all keys a bibliography and a discography.In addition tosections outlining how melody harmony rhythm texture and form work in improvised Piano music giving distinctive emphasis to the interconnectedness of classical and jazz improvisation there are sections devoted to explaining how ideas can be developed into continuous music and to exploring the process of finding a personal style.

Revised Edition-The John Thompson's Easiest Piano Course is designed to present the easiest possible approach to piano playing complete with an amusing family of characters and illustrations to help emphasise the information being taught. Part one is devoted to developing fluency in reading by note the biggest hurdle for most young children. The range is purposely limited. Only five notes up and five notes down from middle C are presented and time values do not go beyond crotchets. Each book of the course contains its own writing exercises sight-reading drills review work and later technical studies. Accompaniments for teacher or parent are suppliedwith most of the examples.  

From ca. 1828 until the last years of his life Frédéric Chopin devoted himself again and again to the nocturne genre emerging at the beginning of the 19th century. As Romantic character pieces evoking in particular evening and night moods they actually count among Chopin's most poetic Piano works. Their popularity is correspondingly large - that is reason enough to compile a selection of the most popular and at the same time technically somewhat easier pieces. The present pieces are ideal for pupils but also for piano-playing music lovers to immerse in the charming sound poems and as already realized by Jan Kleczynski in 1866 toobtain a key 'to reveal the secrets of the other even greater works of the master'.

Par NYIREGYHAZI ERVIN. Ervin Nyiregyhazi (1903-1987), a Hungarian who spent most of his life in America, was among the most gifted-and strangest-musicians of the twentieth century. He was an astonishing prodigy who became one of the greatest and most distinctive pianists ever heard, though his early international celebrity was followed by decades of obscurity and much personal and professional hardship. He was also a devoted and prolific but very private composer. This collection, which marks the first time any of his music has been commercially published since he was six years old, comprises 36 diverse piano pieces spanning the whole range of his output- pieces as idiosyncratic anduncategorizable as Nyiregyhazi himself./ Recueil / Piano

Original creations for the contemporary pianist.-Rob Hall’s Eight Escapes For Piano have enjoyed wide success since their publication in 2015. This follow on collection contains another 11 pieces covering a wide range of themes and moods and boasting eclectic influences. While Eight Escapes For Piano was created for pianists at Grade 5-7 this book is suitable for players at Grades 3-5. The contemporary pieces in Eleven More Escapes For Piano adopt a variety of stylistic colours and approaches from the playful opener Twitter Feed which depicts birds jostling for space at a feeding frenzy to the evocative closing ballad Patience. Once again the pieces in thiscollection are inspired by the composer’s international travels. Pianists will visit North America in Elk Dance the shores of Kerala India in Shifting Sands and even outer space in the abstract pieces White Dwarf I and II. Atlantic Coast Express takes players on a journey along the route of the old 'ACE' which ran between ran the route between London and the coastal resorts of North Devon and Cornwall while Blues For Mrs Sippi follows the great river as it lumbers its way through Memphis Tennessee to the Gulf of Mexico. The pieces in Eleven More Escapes For Piano a joy to learn and play – this collection offers hours of fun.

Par DOBRZYNSKI IGNACY FELIKS. Ignacy Feliks Dobrzynski wrote eight nocturnes for piano. Five of them were published in 1833–1834 in two books as Opp. 21 and 24, while the remainder appeared in various occasional collections issued much later. The Nocturne in A major was written in 1846 and belongs to the group of works composed by Dobrzynski during his tour of German cities. That tour was designed to increase the composer’s popularity and boost his finances. Besides concerts and meetings promoting Dobrzynski’s music, the ‘marketing campaign’ also included the publication of his new salon miniatures in particular cities. This Nocturne appeared in print in Berlin as Op. 52, together with a short mazurka constituting a transcription of the earlier song ‘Gdzie lubi’ (‘A fickle maid’). The form of this piece is based on an A-B-A1 scheme typical of the genre, with a quite elaborate epilogue. In section A, the composer based the melody on a one-bar motif in mazurka rhythm, which he combined with a bass led in widely spread chords, often used in nocturnes. He thus obtained a specifically idyllic mood. The sonorities, the type of melody and texture and, above all, the ornaments that appear as the work progresses bring to mind the early work of Fryderyk Chopin. The chordal section B, of lively expression, in the key of F sharp minor and a uniform triple rhythm, triggers associations with the middle section of Chopin’s Nocturne in A flat major, Op. 32 No. 2. After a short bridge, the reprise comprises a reiteration of the opening part of section A, which then passes into the epilogue, in which the composer splices motifs from both contrasting sections. It is difficult to date the second Nocturne published here and to establish the circumstances surrounding its composition. It was published posthumously (in 1868, in Warsaw), in the Album Pamiatkowe IG.F. Dobrzynskiego (‘Souvenir album of I. F. Dobrzynski’), which also contained two mazurkas, two songs and an excerpt from his incidental music for the play Konrad Wallenrod arranged for four hands. These compositions were not previously published and probably come from private collections. The Nocturne carries a dedication to Miss Wanda Miecznikowska. Determining the principal key of this work is rather problematic, since it falls into two tonally and expressively contrasting sections, divided by a lengthy caesura. An agitated, emotional episode in F minor (in A-B-A1 form, section B in A flat major), ending with a distinct conclusion, is followed, rather unexpectedly, by completely new material in the key of F major; adhering to a slower tempo and of very restrained expression, it serves as a sort of post scriptum, a lengthy and calming musical commentary to the foregoing segment. One may even gain the impression that this Nocturne is essentially a diptych consisting of two separate ‘songs without words’. Judging by its style, which is close to the lyric writing of Franz Schubert, Felix Mendelssohn-Bartholdy or John Field, with elements of the style brillant, this work could have been written earlier than the Nocturne in A major. One may also discern here a certain melodic-rhythmic similarity to the above-mentioned Nocturne in A flat major by Chopin. Both these Dobrzynski mazurkas could make interesting additions to the repertoire of both professional pianists and more advanced amateurs interested in nineteenth-century salon music. They may also enrich the programmes of concerts and broadcasts, particularly those devoted to Polish music, and also be included on the curricula of secondary schools of music. The present edition was based on the first editions. The proposed fingering in both works and the pedalling in the Nocturne in A major are entirely the work of the editors; other editorial performance markings are given in brackets. / Répertoire / Piano