The cast of Glee performed a powerful and emotional rendition of Bill Withers #1 hit of 1972 with all the genuine honesty and gospel-infused spirit you could ever want. An uplifting choice for graduation or any other concert!

The cast of Glee performed a powerful and emotional rendition of Bill Withers #1 hit of 1972 with all the genuine honesty and gospel-infused spirit you could ever want. An uplifting choice for graduation or any other concert!

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

Par BEATLES THE. In over one thousand pages, the complete music and lyrics, in full 'rock score' transcriptions, of all the 203 songs they wrote and recorded as The Beatles, plus nine by others which they covered on their early albums. All transcribed with separate staves for vocals, each guitar (in tab and standard notation) and all other instruments...the essential Beatles collection. / Niveau : Intermédiaire / Rép International / Recueil / Conducteur

The blues is an incredibly powerful form of music that creates an environment within which you the soloist can improvise easily and expressively. This one-of-a-kind book for violinists complete with supportive practice CD will provide you with technical musical and stylistic tips designed to activate your imagination. Fine-tune your right and left-hand touch and help you develop a uniquely individual sound within the stylistic tradition of the blues. The book includes 17 solos that demonstrate the unique styles of great blues fiddlers complete with informative biographies.

Par BEATLES THE. Note-for-note transcriptions with tab for 46 songs from the smash video game featuring the tunes of the Fab Four! / Date parution : 2022-12-06/ Recueil / Guitare

Three Cantatas with Recorder Edited by Barbara Sachs For soprano (d'-a''), two recorders and bc Augellin, vago e canoro Filli, tu sai s'io t'amo Mentre Clori la bella Augellin, vago e canoro, in D minor, has three da capo arias, all in triple metres, separated by recits. The recorders introduce or echo the voice in the first aria, and conclude the second aria which is without them, and provide a totally independent accompaniment throughout the last aria. Syncopations make the second and third arias as unpredictable as the vagaries of the little bird. Filli tu sai ch?io t?amo, in C major, reverses the structure, framing two da capo arias between three very short recits. In the arias the two recorders alternate with the solo voice, playing in very modern trio-style thirds (and in passages labelled unisoni). The singer is graciously insistent while berating Phyllis for not recognizing what it means to love. Mentre Clori la bella, in C minor, is strikingly without any hint of da capo aria form. It presents a Cloris determined to have no more to do with Fileno, who, however, is listening to this outburst. Her state of mind is not quite so linear, though, and the three-part structure explains her dilemma. The opening recit is mainly by the narrator, the first aria, with recorders echoing the voice and harmonizing the cadences, is sung twice, (warning him to expect nothing more of her), followed by an instrumental ritornello. A long recit and an aria ? repeated in its entirety, but without recorders, and followed by an instrumental ritornello ? states that she had loved him once, but that after whatever he has done, she can only hope now to be revenged. A short recit expresses some doubt, and the following aria with recorders has no repeat, though its four lines are set twice, promising a retraction of her disdain. In this cantata Neapolitan 6ths underline all the most dramatic words (sospiri; folle t?inganni; temprati i sdegni).

A generous bumper collection of the greatest songs ever to grace the silver screen, all arranged for Piano, Voice and Guitar. It is impossible to imagine Goldfinger without the huge, rich voice of Shirley Bassey, Midnight Cowboy without Nilsson's lilting country whisper, Alfie without the Pop/Jazz of Cilla Black and Sonny Rollins, and Easy Rider just would not be the same without Steppenwolf. The greatest film songs are synonymous with the movies they embellish, capable of lifting a scene from the screen and into our hearts and minds. These songs will forever evoke memories of our favourite characters and situations, long after the film has ended. Learn to play 100 of the greatest film songs ever written with this great-value songbook, packed to the limits with all the laughs, tears, memories and surprises of the movies - a guaranteed hit no matter what the occasion! / Piano/Vocal/Guitare (PVG)

Play guitar on eight metal classics by the likes of Metallica and Black Sabbath with these specially recorded CD backing tracks plus matching music book. The music book features both guitar tab and standard notation of each song, plus complete lyrics. The CD contains two specially recorded backing tracks of each song. The first is a full demo with guitar, showing you how it should sound, and a backing for vocals. The second is a backing track without guitar for you to play along with on your guitar. Both versions are without vocals and have instrumental cues so you can sing along too, with or without guitar. / Guitare

Play guitar on five great songs from the famous Thin Lizzy and Pink Floyd guitarist with these specially recorded CD backing tracks plus matching music book. The music book features both guitar tab and standard notation of each song, plus complete lyrics. The CD contains two specially recorded backing tracks of each song. The first is a full demo with guitar, showing you how it should sound, and a backing for vocals. The second is a backing track without guitar for you to play along with on your guitar. Both versions are without vocals and have instrumental cues so you can sing along too, with or without guitar. / Guitare

This superb DVD is a new and unique way to have fun study and jam all at the same time.ªThe DVD contains three top quality backing tracks and can be approached in two ways first you can ?JAM? with the tracks flyingsolo experimenting with different ideas licks and solos. Alternatively you can trade solos with Danny drawing inspiration from the ideas and techniques used in his solos.Each track has three performances from Dannyworking across three levels of difficulty. Although the solos are improvised he has taken care to go for a basic intermediate and advanced level for each track. All the solos are transcribed and are available in pdf form alongwith the lessons. On screen graphics with chords and scales are provided when it's your turn to Jam.This tutorial is an exciting way to interact with Danny while learning new licks and phrases performed in a real musicalenvironment. This DVD is designed to be an enjoyable musical experience for everyone. Whether your style you will find this tutorial fun and inspiring. Enjoy!

Par COROZINE VINCE. Designed to introduce the young intermediate-level pianist to playing the blues, Jazzin' the Blues presents fifteen original blues compositions in various keys, styles and grooves together with downloadable recordings of 40 of the 50 examples in the book. The audio tracks are presented both with and without the lead piano part, so the student can play along with a professional rhythm section which includes piano, vibraphone, alto flute, drums, and bass.Historical and performance notes are provided with each blues composition. The author enlisted the skills of jazz pianist Charlie Freeman in editing the book and providing fingering for both the treble and bass piano parts,making these pieces more accessible to novice players. If your knowledge of blues theory or terminology is lacking, this is the book for you! Author Vince Corozine thoroughly explores and demonstrates: blues and pentatonic scale theory, blue notes, grace notes, pedal-points, tremolos, trills, syncopation, anticipation, delayed beats, slash chords, boogie-woogie left-hand patterns, walking bass, stride piano style, straight eighths, swing eighths, passing tones, rolled chords, riffs, 'filler' chords, substitutions, and comping styles. This book also includes essential blues chord theory as well as tips on tasteful chord voicing presented in the context of accompanying a soloist (comping): in addition, the chord progressions represented by the written notation are carefully annotated in every example in the book. The Appendix includes helpful tips on comping, practice, and jazz soloing, plus a list of noteworthy jazz pianists, a key to chord symbols, and a glossary of jazz terms used in the book.If you are not a competent blues pianist when you first pick up this book, you will be by the time you complete it! Includes access to online audio. Designed to introduce the young intermediate-level pianist to playing the blues, Jazzin' the Blues presents fifteen original blues compositions in various keys, styles and grooves together with downloadable recordings of 40 ofthe 50 examples in the book. The audio tracks are presented both with and without the lead piano part, so the student can play along with a professional rhythm section which includes piano, vibraphone, alto flute, drums, andbass. Historical and performance notes are provided with each blues composition. The author enlisted the skills of jazz pianist Charlie Freeman in editing the book and providing fingering for both the treble and bass pianoparts, making these pieces more accessible to novice players. If your knowledge of blues theory or terminology is lacking, this is the book for you! Author Vince Corozine thoroughly explores and demonstrates: blues andpentatonic scale theory, blue notes, grace notes, pedal-points, tremolos, trills, syncopation, anticipation, delayed beats, slash chords, boogie-woogie left-hand patterns, walking bass, stride piano style, straight eighths, swingeighths, passing tones, rolled chords, riffs, 'filler' chords, substitutions, and comping styles. This book also includes essential blues chord theory as well as tips on tasteful chord voicing presented in the context ofaccompanying a soloist (comping) - in addition, the chord progressions represented by the written notation are carefully annotated in every example in the book. The Appendix includes helpful tips on comping, practice, and jazzsoloing, plus a list of noteworthy jazz pianists, a key to chord symbols, and a glossary of jazz terms used in the book. If you are not a competent blues pianist when you first pick up this book, you will be by the time youcomplete it! Includes access to online audio. / Jazz / Etude / Piano