The Quiet Heart: Piano Music for Comfort and Healing

Richard Reed Parry's Heart And Breath Sextet for Piano Six-hands Violin Viola and Violoncello.Heart And Breath Sextet was commissioned by the 2011 MusicNOW Festival foryMusic.'This piece is based around the idea of using the widely varying internal rhythms of the performers? bodies as performance parameters. There is no actual tempo or meter built into the piece. The breathing ratesof the players are used in alternation with the individualperformers? heart rates to determine the pace at which all of the musical material is played. This requires that the performers generally play quietly and delicately so asto be able to hear their heartbeats adequately. This in combination with the natural variance between the different heart rates results in a kind of delicate musical ?pointillism?: starts and stops which are somewhat staggered parts which repeatedly line up and fall out of synch with each other different individuals? pulses rising and falling. The piece is never performed exactly the same way twice.In this piece the pianists wear stethoscopespositioned over their hearts so that each can follow his or her own heart rate. Two eighth notes (quavers) correspond to the two sounds of a single normal heartbeat and performers should match as closely as possible the staccatoand irregular rhythm they hear. The strings are instructed to ?play to breath?; the natural cycle of one inhalation and one exhalation or vice versa will determine the length of the bar (two quarter notes/crotchets) without anyattempt to make it metronomic. When one instrument is designated the leader their breath will determine the starts of phrases and the procession from one bar to the next cuing other parts if necessary.' - RichardReed Parry

Bass Clef Version-Richard Reed Parry's Duet For Heart And Breath Bass Clef version for Cello (or other instrument of suitable range) and Piano (or other polyphonic instrument).The performers wear stethoscopespositioned over their hearts so that each can follow his or her own heart rate. Two eighth notes (quavers) correspond to the two sounds of a normal heartbeat and performers should match as closely as possible the staccato andirregular rhythm they hear. When instructed to ?play to breath? the natural cycle of one inhalation and one exhalation or vice versa will determine the length of the bar (two quarter notes/crotchets) without any attempt to makeit metronomic.'This piece is based around the idea of using the widely varying internal rhythms of the performers? bodies as performance parameters. There is no actual tempo or meter built into the piece. The breathingrates of the players are used in alternation with the individual performers? heart rates to determine the pace at which all of the musical material is played. This requires that the performers generally play quietly anddelicately with little or no vibrato so as to be able to hear their heartbeats adequately. This in combination with thenatural variance between the different heart rates results in a kind of delicate musical ?pointillism?:starts and stops which are somewhat staggered parts which repeatedly line up and fall out of synch with each other different individuals? pulses rising and falling. The piece is never performed exactly the same way twice.'- Richard Reed Parry.

Budget livres est une série de valeur-prix sensationnelle et ce volume présente des normes Jazz - une collection fantastique de la plus belle musique de spectacles et de comédies musicales. Une ressource considérable de 82 chansons de la vaste répertoire de standards de jazz et de swing classiques ! Y compris : Georgia On My Mind, I'll Be Seeing You, The Way You Look Tonight That Old Black Magic tous authentiquement disposés et pour Piano facile avec les paroles et les accords de symboles. / Piano/Vocal/Guitare (PVG) / 302 pages / Partition

150 des plus célébres standards de jazz, speciallement arrangés pour piano, chant et guitare (accords) / Variétés Internationale / Partition /

A unique book and double-CD pack specially developed for female singers auditioning for shows, revues and bands. The CDs give you full professional backing tracks, each specially recorded in the most appropriate key. The music book features each song in piano/vocal/guitar arrangements. / Niveau : Elémentaire / Rép International / Recueil / Piano, Chant et Guitare

A celebratory songbook, compiled to coincide with the CD reissues of Harrison's solo work with his own record label label Dark Horse, with 55 songs arranged for Piano, Voice and Guitar. With songs like Cloud Nine, All Those Years Ago and Beautiful Girl, the post-Beatles Harrison was a quieter, more introspective and humble songwriter. His songs have a warm sense of privacy, as though written only for him but carefully shared with the rest of the world. This collection of arrangements lets you get closer to the music, and includes a 24-page full-colour section detailing the history of the label.

'Twas the night before Christmas and all through the house not a creature was stirring not even a mouse... The peace and quiet of Christmas Eve is distributed by a noisy clatter outside. Who can it be' This pack contains everything you need for your performance suitable for music readers and non-music readers alike: Piano/Vocal score Script Cast list Staging suggestions Expandable cast list - a part for everyone Costume ideas The accompanying CD features rehearsal performances backing tracks and incidental music.This nineteenth century festive favourite is now a heart-warming eye-catching toe-tappingly good musical specially created for schools to perform.

In memory of Christopher Rowland. Originally a concerto for Cello and chamber orchestra now for Cello with a Piano reduction of the orchestral part.The concerto is in four movements which are played without a break: Meditation Intermezzo Toccata-Scherzo and Song. The work lasts for some 18 minutes and was scored for two oboes two horns timpani (doubling tubular bells) and strings(found here in a Cello/Piano form). It is organised in one large arch-shaped structure with two fast inner movements flanked by two outer slow ones. The solo cello opens the work reflectively and introduces core melodic material which is continuously developed throughout theconcerto. Gradually the strings enter then wind and timpani and build a pyramid twelve-note chord at the peak of which there is a dramatic climax. The music then subsides (solo cello again) but links to the two faster middle movements. The second movement Intermezzo has an ABA structure and in its middle section quotes the opening of Shostakovich's Third String Quartet (written in the same year as Christopher Rowland was born!). Indeed the ghost of Shostakovich looms large throughout the concerto in more ways than one. The Toccata-Scherzo is energetic and rhythmically-charged again using an ABA structure. Here the writing for solo cello is quite virtuosic but not I hope in a shallow sense. The music builds inexorably towards a powerful climax underpinned by the opening twelve-note chord's re-appearance together with a violent outburst from the timpani at which point a tonal resolution (on G) arrives through a pianissimo held chord on strings which leads directly to the final movement - Song. And so the music arrives at its emotional heart through a simple melody (present in other forms throughout the work) announced by solo cello at the very top of its register against a quiet backdrop of horns and strings. A solo oboe enters with cello in canonic reply and all the time the music builds in texture and

Greg Gilpin has taken this familiar English spring carol and spun an elegant choral of simple unisons lush harmonies and solo opportunities. The sweet piano accompaniment only tugs at the heart strings more. There is a short acappella section. Never pushing this lovely setting teaches the importance of quiet dynamics blending musical expression and vocal support. A Branch of May is a beautiful selection for a concert festival and/orgraduation. Available separately: SATB SAB.