United Artists

Jingle Bell Rock est le nom d'une célèbre chanson de Noël. Depuis qu'il a d'abord été publié par Bobby Helms en 1957, il est fréquemment diffusée autour de Noël chaque année.Il a été réalisé par de nombreux artistes, mais la version en Helms est encore le plus connu. Son titre et certaines de ses paroles ont été prises à partir des Cloches de Noël traditionnel Jingle standard. Il ya également de brèves références à d'autres chansons populaires, comme Rock Around the Clock. Helms version de la chanson a été réalisé dans le style croisé connu comme le rockabilly, et aujourd'hui il ressemble plus à pays que le rock 'n roll.Une reprise notable de la chanson a été enregistrée par Bill Haley and His Comets (qui a marqué un énorme succès avec le Rock Around the Clock susmentionnées dans les années 1950) en 1968 pour United Artists Records. Destiné à un communiqué de saison unique, il a été décidé de ne pas libérer l'enregistrement, et il était considéré comme perdu depuis près de trente ans jusqu'à ce qu'il a finalement été publié dans le milieu des années 1990. D'autres artistes qui ont couvert Jingle Bell Rock comprennent de Hall and Oates, Billy Idol, Hilary Duff et Girls Aloud. / Quintette Variable / 12 pages / niveau : Elémentaire - Moyen / Partition

Another bumper selection of classics from the final decade of the 20th century! Featuring a total of 70 rad Rock tunes and pukka Pop classics by artists that broke away from the materialism and shameless exuberance of the 80s to bring us a more hedonistic, yet introspective take on the pop and rock genres. This is superb bunch of nineties greats, with every song presented in the key of the original hit recording and arranged with full lyrics and guitar chords. / Paroles Et Accords

As one of the best-selling artists of all time, Taylor Swift (b. 1989) needs no introduction. Since her debut album in 2006, she has been firmly established as one of the most popular artists working today. Her fifth studio album, 1989, released in October 2014, was the fastest-selling album in the United States in over a decade. As the title suggests, it is heavily influenced by 1980's pop and marks a shift away from her classic country style - nonetheless, it is still unmistakably Taylor Swift.In Taylor Swift: 1989 (Big Note Piano), all 13 tracks from the original album have been transcribed for easy Piano with big notes. Songs include Blank Space, Shake It Off, Bad Blood, and many more. / Piano

This anthem will feel immediately familiar to many listeners! Wilberg has adapted the words of a traditional hymn and set them to the melody of O little town of Bethlehem. With a lively accompaniment and spirited counter-melody the result is a sparkling and jubilant work that will suit both concerts and services of thanksgiving throughout the year.Mack WilbergMack Wilberg is the Music Director of the Mormon Tabernacle Choir. He was appointed Music Director in March 2008 having served as Associate Music Director since May 1999. He is a former professor of music at Brigham Young University where he received his bachelor's degree; his master'sand doctoral degrees are from the University of Southern California. In addition to his conducting responsibilities he is active as a pianist choral clinician composer arranger and guest conductor throughout the United States and abroad. In addition to the many compositions he has written for the Mormon Tabernacle Choir his works have been performed by artists such as Renée Fleming Frederica von Stade Bryn Terfel The King's Singers and narrators Walter Cronkite and Claire Bloom. Wilberg's arrangements and compositions are performed and recorded all over the world. With their grandeur energy and craftsmanship they inspire performers and audiences everywhere.

Streets of London is a song written by Ralph McTell. McTell left the song off his debut album ‘Eight Frames a Second’ since he regarded it as too depressing but was eventually convinced by his producer to include it in the second. It was first recorded for the 1969 album ‘Spiral Staircase’ but was not released in the United Kingdom as a single until 1974. It ended up being McTell’s greatest commercial success reaching number two in the UK singles chart at one point selling 90 000 copies a day and winning him the 1974 Ivor Novello Award for Best Song Musically and Lyrically and a Silver disc for record sales.The songcontrasts the common problems of everyday people with those of the homeless lonely elderly ignored and forgotten members of society and has been covered by over two hundred artists around the world.As part of the Richmond Music Choral series Streets of London is arranged for SATB Voices.

Par ABREU ZEQUINHA / KAZIK JAMES (Arr.). The Brazilian classic was popular in the United States during the 1940s with artists such as Ethel Smith, the Andrews Sisters and Carmen Miranda. More recently, it was performed at the closing ceremonies of the 2016 Olympics in Brazil. James Kazik's masteful arrangement for string orchestra (with optional piano and percussion) captures all the fun and energy of the original in a format that will be easily performable by your students and the audience dancing in the aisles! / Date parution : 2023-07-31/ Répertoire / Orchestre à Cordes

This DVD illustrates well the mingling of old and new within the framework of old-time cajun blues and folk music. It focuses on traditional instruments i.e. the ancient mouth bow autoharp fiddle banjo accordion diddley-bow as well as the piano and guitar.The Folksong Revival was a dynamic cultural event with its origins in the early 20th century. By the mid-1960s it had captured American popular music inspired a generation of folklorists and served to reintroduce the United States to its vernacular musical roots. Fortunately some of the legendary artists of the 1920s and 1930s were rediscovered and performed at festivals and concerts.

Cette Méthode de Luth Baroque peut vous donner les bases techniques et musicales nécessaires à l?obtention d?une structure assez solide et complète du jeu du luth baroque. Et c?est là tout l?enjeu et le défi de l?écriture de cet ouvrage : donner, au plus grand nombre de passionnés, l?opportunité de s?exprimer à travers le luth baroque, et ce, indépendamment de leur niveau d?apprentissage. Notre livre est destiné non seulement à celui qui n?a jamais joué d?un instrument de musique, mais aussi au guitariste avisé qui veut s?initier aux mystères du luth baroque !

Mode d?emploi

Notre Méthode de Luth Baroque est divisée en trois parties.

La première partie, plutôt théorique, aidera à mieux comprendre la façon de jouer la musique écrite pour le luth baroque. Nous avons jugé indispensable d?avoir des connaissances élémentaires de solfège occidental mais aussi de la tablature (forme de notation musicale spécifique au luth). Ces connaissances, insuffisantes si étudiées de manière isolée, ont été enrichies d?un lexique des pièces instrumentales ainsi que de biographies de la plupart des compositeurs de musique pour luth baroque à 11 et 13 ch?urs.

En deuxième partie, nous avons dédié tout un chapitre à l?étude de la technique et de la production sonore du luth. Riche en photos et détails de toutes les étapes techniques que nous devrons franchir, ce chapitre est, sans aucun doute, le plus important de toute notre Méthode pour bien comprendre l?univers sonore du luth baroque ! Ensuite, nous vous proposons 21 exercices, tous d?un niveau élémentaire, mais progressifs, accompagnés de plusieurs pièces de musique. Vous allez d?abord jouer des mélodies pour ensuite ajouter les basses, et seulement après commencer à jouer les ornements.

En troisième partie, nous avons choisi près de 250 pièces pour luth baroque à 11 et 13 ch?urs. Ces pièces, divisées en trois niveaux, sont d?un degré de difficulté qui s?échelonne du niveau « débutant », « moyen » à « avancé ». Nous avons, tout comme à l?époque baroque, séparé ces pièces selon leurs tonalités et leur nom. Aussi, nous n?avons choisi que très peu de tonalités différentes, afin que le luthiste débutant puisse travailler l?essentiel de son instrument, au lieu de perdre son temps à essayer de s?accorder tout le temps et de jouer des morceaux bien trop complexes pour son niveau. Il n?y a pas de mauvaise musique mais, parfois, il y a de mauvais musiciens ! Faire de la musique n?est simplement pas jouer des notes et réaliser quelques acrobaties, souvent sans intérêt. Un musicien « mûr » se plaît le plus souvent à jouer une simple mélodie et à jouir des merveilles sonores de son instrument !

Nous espérons que cette méthode pourra aider ceux qui n?ont pas accès à un professeur (même si nous leur conseillons d?aller en voir un le plus régulièrement possible), mais aussi tous les professeurs n?ayant pas suffisamment de matériel pour faire travailler, d?une manière systématique, leurs élèves.
Bon courage à tous !
Miguel Yisrael - formerly Miguel Serdoura, now carrying the surname of his mother - was born in Lisbon, where he began his musical and artistic career, earning his Diploma in Classical Guitar in 1994. In 1995, he moved to Paris, where he studied the lute with Claire Antonini in the Early Music Department of the Conservatoire Supérieur de Paris - CNR. He also took part in several master classes in his discipline, with Rolf Lislevand and other prestigious artists. From 1999 to 2004, he completed his musical education at the Schola Cantorum Basiliensis in Basel, Switzerland with the grand maestro Hopkinson Smith.
As a soloist, Miguel Yisrael has given recitals in France, Portugal, United-Kingdom, Germany, Belgium, Switzerland, China and USA. In 2000, he took part in a television documentary devoted to the lutenist Hopkinson Smith, broadcast by Arte, Mezzo, Classica, RTBF and TSR. He currently lives and teaches baroque and renaissance lute in Paris, where he gives frequent concerts/lectures in the framework of the ?Musicien au Musée? program of the Musée de la Musique - Cité de la Musique in Paris.
Miguel Yisrael performs on lutes built by Cezar Mateus, Princeton, USA, and with strings from Mimmo Peruffo, Vicenza, Italy.
He recorded his first solo CD for the Dutch Label Brilliant Classics in 2008.

From the striking opening chords to the blazing woodwind passages and dynamic brass and percussion writing you are in for a special treat with this powerful concert opener by acclaimed composer Kenneth Fuchs. Commissioned by theUSAF Academy Band Colorado Springs CO this is certain to become in important addition to the repertoire for winds. Dur: 5:30