Those Were The Days

Des classiques des années 60, dont 'Those Were The Days', 'She Loves You', 'A Whiter Shade Of Pale' et 'Bridge Over Troubled Water'. / Piano / 48 pages / Partition

Intermediate to Upper Intermediate Level. Par . 'Upon embarking on this project, I had little idea of what I would find. There were, of course, the 'usual suspects:' women composers whose name and whose music have stood the test of time and are familiar to many. There were also those whose names ring a bell but whose music does not. The real unknowns were, well, the unknowns. How many women composers whose music is worth studying and listening to were out there' (...) When selecting, I searched for the following: beautiful interesting compositions that students can benefit from and will love learning, teachers will enjoy teaching, and audiences will appreciate; a variety to styles, composers, and nationalities; showcasing as many composers as possible, while striking a balance between well-known, lesser know, and unknown composers.' - Immanuela Gruenberg, in the Preface. These brand new collecions come in two volumes, with book 1 arranged for upper elementary to early intermediate pianists, and Book 2 arranged for intermediate to upper intermediate level pianists. / Date parution : 2023-06-01/ Recueil / Piano

The Beatles' North American tours turned the entertainment business on its ear and forever changed the landscape of the concert touring industry. In February 1964, after finally achieving a number-one hit in America, the Fab Four came to the country with high hopes, performing on the wildly popular Ed Sullivan Show in both New York City and Miami and playing concerts at Carnegie Hall and the Washington Coliseum. In just fifteen short days, the Beatles conquered America. The Beatles made music-entertainment history with their North American tours from 1964 to 1966.Some Fun Tonight! The Backstage Story of How the Beatles Rocked America: The Historic Tours of 1964-1966 is a comprehensive two-volume set which gives you a city-by-city synopsis of the group's activities as they traveled the United States and Canada for their groundbreaking series of concerts. From San Francisco's Cow Palace show on August 19, 1964, through their last-ever live performances at that city's famed Candlestick Park on August 29, 1966, these books cover the music and the madness that characterized the Beatles' three North American tours. With hundreds of photographs and images of rare memorabilia, it is truly the definitive reference for what is arguably the most important period in the Beatles' long and winding career. You'll read about the behind-the-scenes negotiations, the mayhem at the airports and hotels, and the cheeky quotes delivered at the press conferences. You'll also read about the opening acts, the concerts, and the stories behind the shows through the eyes of the Beatles, their entourage, the promoters, the emcees, and the fans. Never before have the Beatles' North American concerts been covered in such depth.If you witnessed the mania firsthand, you'll relive the excitement in the pages of these books. If you were born too late to be a part of those halcyon days, you'll learn what it was like to be swept up and carried away by the phenomenon of the greatest musical act of all time. When all is said and done, Some Fun Tonight is a tribute to the fans - the first generation and beyond. Look carefully at the faces of the fans in this book - they may be your friends, parents, grandparents - or even you! - but together, they made Beatlemania happen. Fasten your seat belt and enjoy this comprehensive history! / Divers

Baritone Book/2-CDs Pack-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-barcut suggestions for each song make it the most useful and relevant song library of its kind. Titles include: Everything Old Is New Again (The Boy from Oz) · She's My Love (Carnival) · Those Were the Good Old Days! (Damn Yankees) · A Jug of Wine (The Day Before Spring) · Anyone Would Love You (Destry Rides Again) · All of My Life (Do Re Mi) · After Today (Dr. Doolittle) · Gigi (Gigi) · Store-Bought Suit (The Golden Apple) · The Best Things in Life Are Free (Good News) · Where Do I Go' (Hair) · I Love My Wife (I Do! I Do!) · It's a Well Known Fact (I Do! I Do!) · No More (Into the Woods) · They Go Wild Simply Wild Over Me (Irene) · Progress Is the Root of All Evil (Lil' Abner) · Love Who You Love (A Man of No Importance) · Marriage Proposal (March of the Falsettos) · Me and My Girl (Me and My Girl) · Reviewing the Situation (Oliver!) · I Talk to the Trees (Paint Your Wagon) · Isn't It a Pity' (Pardon My English) · No One Has Ever Loved Me (Passion) · I'm Back in Circulation (Redhead) · Love's a Bond (Saturday Night) · Bless Your Beautiful Hide (Seven Brides for Seven Brothers) · I Don't Remember Christmas (Starting Here Starting Now) · Once in a Lifetime (Stop The World I Want to Get Off) · The Barber and His Wife (Sweeney Todd) · The Mansion (Two Gentlemen of Verona) · If I Were the King of the Forest (The Wizard of Oz) · A Quiet Girl (Wonderful Town).

Upper Elementary to Lower Intermediate Level. Par . 'Upon embarking on this project, I had little idea of what I would find. There were, of course, the 'usual suspects:' women composers whose name and whose music have stood the test of time and are familiar to many. There were also those whose names ring a bell but whose music does not. The real unknowns were, well, the unknowns. How many women composers whose music is worth studying and listening to were out there' (...) When selecting, I searched for the following: beautiful interesting compositions that students can benefit from and will love learning, teachers will enjoy teaching, and audiences will appreciate; a variety to styles, composers, and nationalities; showcasing as many composers as possible, while striking a balance between well-known, lesser know, and unknown composers.' - Immanuela Gruenberg, in the Preface. These brand new collecions come in two volumes, with book 1 arranged for upper elementary to early intermediate pianists, and Book 2 arranged for intermediate to upper intermediate level pianists. / Date parution : 2023-06-01/ Recueil / Piano

Since the 1950s Charles Strouse has composed the scores to some of Broadway's most successful and enduring musicals in addition to several well-known movie scores concert music and operas. A true crossover artist with strong classical roots Strouse is a three-time Tony Award winner honored for his first Broadway classic Bye Bye Birdie (1960) Applause (1970) and Annie (1977). He also won an Emmy Award in 1996 for outstanding individual achievement in music and lyrics. A recipient of the coveted ASCAP Richard Rodgers Award for his achievement in musical theater Strouse also has been honored by the American Theater Wing and elected to the Theater Hall of Fame. Thiscollection presents 49 of his songs arranged for piano and voice with guitar chord frames. Includes: Applause · Blame It on the Summer Night · Born Too Late · Bye Bye Birdie · Children of the Wind · Follow the Way of the Lord · I Can't Stop Dancin' · I Don't Need Anything but You · It Would Have Been Wonderful · It's the Hard-Knock Life · Kids! · Look on the Bright Side · A Lot of Livin' to Do · Put On a Happy Face · Those Were the Days · Tomorrow · When You Smile · You've Got Possibilities · and more. Also features a fascinating article about Strouse's career with photos.

Each songbook in the Big Book series provides musicians of all ability levels with a big list, over 40 songs, of the very best songs from a favourite musical genre. This Boog Book of TV songs features classics such as Fantasy Island, Road Runner, A-Team and many more. Anywhere The Heart Goes (Meggie's Theme); As Long As We Got Each Other; Bad Boys; The Ballad Of Davy Crockett; The Ballad Of Gilligan's Isle; Batman Theme; Best Friend; Cagney & Lacey Theme; California; Charlie's Angels; Dallas; Daniel Boone; Dreamlove; ER; Every Beat Of My Heart; Everybody Loves Raymond; Final Frontier; (Meet) The Flintstones; Free Willy; The Fugitive; Go Go Power Rangers; Good Ol' Boys; Green Hornet Theme; High Upon This Love; Huckleberry Hound; I Want To Be the One; I'll Be There For You; If This Isn't Love; In The Heat Of The Night; It's A Jungle Out There; The Jetsons; Josie And The Pussycats; L.A. Law; Late Show Theme; The Masterpiece; Mickey Mouse March; Moon Over Parma; Movin' On Up; Mr. Lucky; Mystery; One Day At A Time; Peter Gunn; The Pink Panther; Saturday Night Live; Scooby-Doo, Where Are You?; Sex And The City; M*A*S*H; Stargate SG-1; The Syncopated Clock; Thank God For A Friend Like You; Theme From 'The A-Team'; Theme From 'CHiPs'; Theme From 'Dr. Kildare'; Theme From 'F-Troop'; Theme From 'Fantasy Island'; Theme From 'The Greatest American Hero'; Theme From 'Hardcastle and McCormick'; Theme From 'Hunter'; Theme From 'Peyton Place'; Theme From 'The Road Runner'; Theme From 'The Rosie O'Donnell Show'; Theme From 'Stardust'; Theme From 'Wiseguy'; Theme From 'Zorro'; Thirtysomething; This Is It!; The Bugs Bunny Show; Those Were The Days; Tie A Yellow Ribbon 'Round The Ole Oak Tree; Time For You; Turn It All Around; Viewer Mail Theme (Late Night With David Letterman); Walls Of Love; Welcome To The Edge; The West Wing; Where There Is Hope; Whose Line Is It Anyway?; Yogi Bear Song; The Young Riders Theme.

Four Double Basses. Eight well-known Christmas carols in a new guise. Score and parts.The Programme of Christmas Carols was first performed in New Orleans in 1976. In its original version the players were required to wear Dickensian costume and a seasonal narrative preceded each of the carol arrangements. The texts appear below.Duration without text: c.20 minutesDuration with text: c.45 minutesIntroduction by Robert RoheThe introductory text assembled with the kind assistance of Father Peacock of Loyola University of New Orleans was designed for use where the receptivity of the audience warrants. So little is known about thebeloved Christmas carols it is fitting that a brief sketch of the carols' past be used to enhance the familiar music.If desired the introductory text may be omitted at the discretion of the performers.The brief text preceding each carol should be used to acquaint the audience with what to expect from a quartet that will be playing the unexpected. The text also will pace the program and will extend performance time to around 45 minutes.In performance the bass viol quartet of New Orleans wore peaked caps and turtle necked sweaters to simulate the street performers of Dickens' time. The choice of four string basses for this program was to bring the closest relatives of the true viol into play.History and development of the Christmas CarolThe celebration of the birth of Jesus Christ has been observed for nearly 2 000 years through the ritual of the Christian Church with part of that ritual being devoted to celebration in song. In those early days church music was sung only no musical instruments taking part in the service.The type of song used by the church had the name 'plain-song'. It was a single line of melody plain and unadorned sung by one or more voices. By the year 1660 A.D. it had developed a second name 'The Gregorian Chant' after Pope Gregory who encouraged the use

30 Popular Songs From The Piano LoungeInstrument : pianoType : songbookNombre de Pages : 120Finally, the most popular arrangements by Carsten Gerlitz are available in an anthology for bar piano!Best Of Piano Lounge contains the 30 most beautiful titles of the previous twelve volumes, offering wonderful pieces to suit everyone's taste â?? from jazz and swing standards via musical and film melodies to pop and rock ballads. Each one of them in easily playable and fresh arrangements for the piano.The perfect first step for pianists into the world of the bar piano.Content : Georgia On My Mind - Dream A Little Dream Of Me - Somethin' Stupid - Petite Fleur - Summertime - Those Were The Days - Fly Me To The Moon - Without You - For Your Eyes Only - Sally Gardens - Aquarius - Loch Lomond - Jessie - Misty - The Shadow Of Your Smile - You'll Never Walk Alone - Mandy - As Time Goes By - Plaisir d'amour - Mack The Knife - The Entertainer - Angels - Just The Way You Are - Can You Feel The Love Tonight - Easy - Leningrad - Au clair de la lune - Angie - New York, New York - Over The Rainbow

2me Polonaise brillante pour violon avec acompagnement de piano op.21Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechli?ska Footnotes 1. See The Critical Commentary, p. ' and onward. 2. See V. Grigoriev, Henryk Wieniawski. ?ycie i twórczo??. [Life and Work] Warszawa - Pozna? 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes.Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w PoznaniuSeries: Henryk Wieniawski - Complete WorksCover: softbackNr ISMN: 979-0-2740-0753-9Number of pages: 34 8Format: N4 stoj. 235x305Language version of text: pol., Eng.