All by Myself

Partitions pour piano, voix, guitare (tablatures et grilles d'accords) de l'album Me, Myself and Us de la jeune auteur-compositeur-interprète québécoise, Pascale Picard.
Pour ce premier album, elle a obtenu une certification platine, soit la vente de 100 000 copies.
Ce livre contient aussi les paroles complètes sur pages séparées, des illustrations et des photos de l'artiste. / Variétés Internationales / Partition /

Une collection de plus de vingt ballades et de chansons de films capturant les plus beaux moments. Tous vos morceaux favoris, dont Walk On By, Nothing Compares 2 U et All By Myself, ont été arrangés pour piano, voix et accords de guitare, pour que vous puissiez revivre la magie de ces moments! / Piano/Vocal/Guitare (PVG) / Partition

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-bar cut suggestions for each song make it the most useful and relevant song library of its kind. Titles: All for You (Saturday Night) * Autumn (Starting Here, Starting Now) * Ballad of Dependency (The Threepenny Opera) * The Boy Friend (The Boy Friend) * Bring on Tomorrow (Fame -- The Musical) * Goodbye, Little Dream, Goodbye (Anything Goes 1988 Revival) * I Speak Six Languages (The 25th Annual Putnam County Spelling Bee) * I'm a Stranger Here Myself (One Touch of Venus) * Jilted (Of Thee I Sing) * Just Imagine (Good News) * A Little Bit in Love (Wonderful Town) * A Little Bit of Good (Chicago) * Long Ago (Half a Sixpense) * Love in a Home (Lil' Abner) * Love Is Sweeping the Country (Of Thee I Sing) * Mira (Carnival) * My Love Is on the Way (The Golden Apple) * My Man's Gone Now (Porgy and Bess) * Once Upon a Dream (Jekyll & Hyde) * Only Love (Scarlet Pimpernel) * Patterns (Closer Than Ever) * Practically Perfect (Mary Poppins -- Stage Version) * Romance (The Desert Song) * Safety in Numbers (The Boy Friend) * The Sailor of My Dreams (Dames at Sea) * Some Other Time (On the Town)* The Sun Whose Rays Are / Instrumental Music, Miscellaneous, Songbooks, Voca / Recueil / Voix et Piano

Broadway Presents! Teens' Musical Theatre Anthology: Female Edition is a delightful collection of musical theatre songs from a variety of shows that span decades of theatre history. Using the original vocal scores, the songs have been selected and adapted with the ranges and skills of teen singers in mind. Authoritative historical and contextual commentary, audition tips, and 16-bar cut suggestions for each song make this the most useful and relevant collection of its kind. CD includes accompaniment tracks. Titles: A Little Brains, a Little Talent (from Damn Yankees) * All for You (Seussical the Musical) * Always True to You in My Fashion * (Kiss Me Kate) * Astonishing (Little Women) * Bewitched, Bothered and Bewildered * (Pal Joey) * Boy Wanted (My One and Only * Don't Rain on My Parade (Funny Girl) * Gimme Gimme (Thoroughly Modern Millie) * Hold On (The Secret Garden) * Home (The Wiz) * How Are Things in Glocca Morra? (Finian's Rainbow) * I Had Myself a True Love (St. Louis Woman) * I Speak Six Languages (The 25th Annual Putnam County Spelling Bee) * I'm Not At All in Love (The Pajama Game) * Is It Really Me? * (110 in the Shade) * Mama Who Bore Me (Spring Awakening) * Mamma Mia (Mamma Mia) * Much More (The Fantasticks) * The Music That Makes Me Dance (Funny Girl) * The New Girl in Town (Hairspray) * Part of Your World (The Little Mermaid) * Practically Perfect (Mary Poppins) * Princess (A Man of No Importance) * Raunchy (110 in the Shade) * Roxie (Chicago) * Show Me (My Fair Lady) * Shy (Once Upon a Mattress) * The Simple Joys of Maidenhood (Camelot) * Somewhere That's Green (Little Shop of Horrors) * Waiting for Life (Once on This Island) * Whispering (Spring Awakening) * Your Daddy's Son (Ragtime). / Instrumental Music, Miscellaneous, Songbooks, Voca / Recueil / Voix et Piano

Fifteen more hits exposed to millions on this smash show: And I Am Telling You I'm Not Going - Dancing with Myself - Defying Gravity - Don't Rain on My Parade - Endless Love - I'll Stand by You - Imagine - Jump - Lean on Me - My Life Would Suck Without You - Proud Mary - Smile - Sweet Caroline - Taking Chances - True Colors. / Piano/Vocal/Guitare (PVG)

Tenor Book/Online Audio. Par . The world's most trusted source for authentic editions of theatre music for singers has expanded with yet another volume. Many of the songs are found in no other collections. The 40 songs in each volume are in the original keys, excerpted from vocal scores and piano/conductor rehearsal scores. Includes both recent shows and a deeper look into classic musicals. Contents: ANNIE: Easy Street · BARNUM: Bigger Isn't Better · CHILDREN OF EDEN: Lost in the Wilderness · CITY OF ANGELS: Stay with Me · DIRTY ROTTEN SCOUNDRELS: Great Big Stuff · DO I HEAR A WALTZ?: Take the Moment · THE DROWSY CHAPERONE: I Am Aldolpho · GODSPELL: Alas for You o GREASE: Mooning · GREY GARDENS: Body Beautiful Beale · Drift Away · HAIRSPRAY: The Nicest Kids in Town · Hairspray · JERSEY BOYS: December 1963 (Oh, What a Night) · Can't Take My Eyes Off of You · THE LAST FIVE YEARS: Shiksa Goddess · Moving Too Fast · THE LIGHT IN THE PIAZZA: Il mondo era vuoto · Passeggiata · LITTLE WOMEN: Take a Chance on Me · MOVIN' OUT: She's Got a Way · Summer, Highland Falls · MYTHS AND HYMNS: Saturn Returns · Hero and Leander · ON THE TWENTIETH CENTURY: I Have Written a Play · THE PIRATE QUEEN: I'll Be There · THE PRODUCERS: Springtime for Hitler · Heil Myself · RENT: What You Own · SONGS FOR A NEW WORLD: She Cries · SPRING AWAKENING: Left Behind · TARZAN: Two Worlds · Strangers like Me · THOROUGHLY MODERN MILLIE: What Do I Need with Love · TICK, TICK ... BOOM!: 30/90 · Sunday · URBAN COWBOY: It Don't Get Better Than This · WEST SIDE STORY: Something's Coming · Maria. / Date parution : 2023-08-12/ Recueil / Ténor

I hide myself With a lily Go lovely Rose-Written early in Whitacre's career whilst at the University of Nevada in Las Vegas. Arranged for SATB choir includes a Piano line for rehearsal purposes.I Hide MyselfJust a simple song really. All of the musical suggestions come from a careful study of the poem a quiet passionate soul occasionally speaking a little bolder than the age will allow. She loves almost to the point of distraction and this mood mustprevail in the performance: shy and sullen her passion surging to the surface only to sink back into the silence that is herself.Go Lovely RoseThe piece is structured around the cyclical lifeof a rose and is connection throughout by the opening 'rose motif' a seed that begins on the tonic and grows in all directions before it blossoms dies and grows again. Each season is represented: spring begins the piece summerappears at bar 13 autumn at bar 26 winter at bar 39 with spring returning at bar 49. The form is based on the Fibonacci sequence (the pattern found in plant and animal cell divisions) - its fifty five bars are a perfectFibonacci number. The Golden Mean appears at bar 34 as all parts are reunited to complete the flower before its final blossom and inevitable cycle of death and rebirth.Each performance should be approachedwith a child-like innocence and naivety that allows us to marvel at the return of the rose each spring. The szforzandos throughout must be light and gentle.With A Lily In Your HandWater and Fire. If the performance of this piece connects these contrasting elemental ideas its success is guaranteed. Water: At bar 30 this ostinato should be fluid and gentle only interrupted at bar 32 asthe butterflies momentarily spring out of the texture; bars 35-38 the water should slowly transform back to fire. Bar 44 should be tiny bell-tones motivating the next nine bars another patient sensuous transformation back to

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

Grades 1 - 4-As I sit myself down to write this brief foreword I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road in Bristol) I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy and likewise speaking as a lapsed brass player there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again one gets a different yet entirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence with a little gamesmanship on my part I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat) Trombone and Tuba (bass clef) Horn in F Flute Clarinet and Bassoon. While many will find themselves humming the likes of Going up Camborne Hill Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture – I wonder if I might draw your attention to The Cornish Squire The Pool of Pilate and Cold Blows the Wind Today Sweetheart which are quite simply sublime melodies perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs Cornish folk music works equally ideally sung and played and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan