How to Become a Film Composer

This portrait of celebrated German film composer Dirk Reichardt contains 13 easy Piano arrangements of scores from seven cinema greats.From his beginnings as a session musician working with diverse artists like Bonnie Tyler and Dionne Warwick, composer Dirk Reichardt has gone on to collaborate closely with successful film director Til Schweiger on a number of his films. Reichardt has scored works like 'The Red Baron' and 'Rabbit Without Ears', the latter being the only German film soundtrack to go platinum.This collection of Reichardt's most memorable and enduring works includes a great range of styles, all with that cinematic feel that is perfect for solo or performance Piano. Many of his pieces have become standard in Piano lessons and can be used to provide students with a great way to learn the instrument through these expertly-composed and exciting scores.The Filmkomponisten Im Portrait is a brilliantly varied collection of the hugely successful German composer Dirk Reichardt's works. Whether you're a fan or just looking to expand your repertoire with some inspiring film compositions, this compilation is an excellent introduction to Germany's answer to Hans Zimmer. / Piano

Film Scores For Solo Piano is a wonderful collection of those most cinematic pieces of music from film and television all arranged so that solo pianists can bring these climactic and inspirational scores totheir own living room. The accompanying download card also provides exclusive online access to new audio tracks of all the works.   Featuring some of the finest soundtracks to the best films and televisionshows written by some of the most accomplished living composers Film Scores For Solo Piano is an undoubtedly essential addition to the music stand of any music or film fan. Featuring classics like Adagio ForStrings that have been used in a vast number of films to more definitive scores like Philip Glass's brilliant Koyaanisqatsi which are such key parts of the films they accompany that the two have becomeinseparable.   Other important works included in this collection are Einaudi's excellent Una Mattina from 'Intouchables' Nico Muhly's wonderfully fitting The Egg - CyclingHoliday from 'The Reader' and Jeff Beal's inimitable theme from the Netflix series 'House of Cards'. Featuring 32 different pieces of Film Score sheet music fans of the incomparable effect ofa score on film and television will finally be able to play their favourite pieces as well as discover new ones to play. Many of the world's greatest composers have been commissioned to create music that tells as much of a storyas the imagery on screen and with this collection of film score sheet music you'll be playing works by Max Richter Hauschka Dustin O'Halloran Alberto Iglesias and Philip Glass among many others.   A unique download card is also included which features demonstration tracks of every single Film Score in the book some of which (Koyaanisqatsi and House of Cards) are

Well-known film composer Alan Silvestri (Back to the Future The Polar Express Night at the Museum) was asked by the NCAA to write a new official theme to be used for all their sporting events. This impressive new themeopens with a stunning trumpet fanfare and is propelled by a driving rock percussion groove. Sure to become classic stadium and fieldhouse fare! (This arrangement also includes optional easier trumpet parts for less experiencedplayers.)

Composer arranger and Pianist Bizet might have become the most renowned opera composer in France had he not died aged 36 just one month after the premiere of Carmen. He was admitted to the Paris Conservatoire in 1848 and excelled under the tutelage of Zimmerman Halévy and Gounod as well as winning major prizes including the Prix de Rome in 1857. After travels in Italy he settled back in Paris and while struggling to secure commissions for his operas worked as a rehearsal pianist and an arranger of works for piano. His first staged work Les pêcheurs de perles was premiered at the Théâtre Lyrique in 1863 and met with a hostile press but itimpressed Berlioz and the director of the theatre Léon Carvalho would become a firm supporter. More successful were La jolie fille de Perth (1866) his suite from the incidental music to L’Arlésienne (1872) and his Jeux d’enfants for piano duet. In Carmen the scandalous story and Bizet’s depiction of the tragic heroine both outraged and intrigued and the opera ran for 47 performances in its first year and soon spread internationally. The music was a fulfilment of his genius for characterisation that had been seen in glimpses in his earliest works and the abundance of memorable tunes and fine orchestration continues to inspire generations of singers and musicians. Based upon the 1875 published version of the opera—with revisions and restorations by Jean-Claude Hartemann and further editorial overview by David Lloyd-Jones— the edition includes both the original spoken text as well as recitatives by Ernest Guiraud and the following sections: •Scène et pantomime N° 2 (Attention! Chut! Taisons-nous!) •Original Mélodrame after Marche et Choeur des gamins N° 3 (Il y a une jolie fille) •Original version of Carmen’s entrance aria N° 5 (L’Amour est enfant de Bohême) •Original version of N° 6 Scène (Carmen! sur tes pas nous nous pressons tous!) •Chanson et mélodrame N° 9 (Tra la la la … Ce ne sont pas des chansons que je te demande) •Original version of N° 17 Duo

Guitar-Manhã Do Carnaval (?Morning of Carnival?) is the most popular song by Brazilian composer Luiz Bonfá recognised as the ?main? musical theme of the extremely successful 1959 Portuguese-language film ?Orfeu Negro? (?Black Orpheus?). The song which was initially rejected from inclusion in the film became one of the first compositions identified with Bossa Nova to gain popularity outside Brazil. Manhã Do Carnaval has become a staple in the Jazz/Bossa repertoire of a wide variety of musicians all around the world. In this score the tango is arranged for soloGuitar by Ralph Paulsen-Bahnes following the original by Luiz Bonfa in a highly accessible way.

Comedienne Gracie Fields was born over a chip shop but at the time of this song the height of her popularity had become the highest-paid performer in Britain and the highest paid film actress in the world. A star of music hall and cinema for many years Fields had a big hit with The Biggest Aspidastra In The World in the late 1930s so he kept it in her repertoire ever after. One of the composers Tommy Connor has excellent form as a composer of novelty songs as he also penned I Saw Mommy Kissing Santa Claus.The jaunty melody is charming though Fields herself often favoured a more declamatory reading of the words. The sheet music includes Guitar tablature.

For Clarinet Choir-There???s a Boat Dat???s Leavin??? Soon for New York/It Ain???t Necessarily So/Summertime/I Got Plenty o' Nuttin??? is a song from the American opera Porgy and Bess composed in 1935 by George Gershwin (1898-1937) to a libretto by DuBose Heyward and his brother Ira Gershwin after Heyward???s novel Porgy - a story about the love between the crippled negro beggar Porgy and the girl Bess in the city of Charleston in South Carolina. The premi?re - not a huge success - took place on 10 October 1935 in New York.With his opera Gershwin wanted to gain recognition as a composer of classical music. Incidentally he demanded that all parts were sung by black performers; only a few unimportant parts without sung lyrics were allowed to be performed by white actors. This rule still applies: Gershwin has stated in the terms of his will that only black people were allowed stage the opera.Porgy and Bess has become popular only after Gershwin???s death. In 1959 a wonderful film was made; the soundtrack won a Grammy Award. The work is not very often performed possibly because of the difficulty of finding a whole cast of black opera singers. However various pieces from the opera are still regularly performed in numerous arrangements.

In the past two decades years American composer Philip Glass has become a prominent and unique figure in the international music world. Writing operas orchestral and choral works and music for film theatre dance and The PhilipGlass Ensemble (which has toured over fifty cities worldwide) Glass has brought his creative vision to a diverse and ever growing audience.

In the past two decades years American composer Philip Glass has become a prominent and unique figure in the international music world. Writing operas orchestral and choral works and music for film theatre dance and The PhilipGlass Ensemble (which has toured over fifty cities worldwide) Glass has brought his creative vision to a diverse and ever growing audience.

Master composer John Williams took time away from his busy film scoring schedule to pen this spectacular new setting specifically for use at the 2004 Rose Bowl. Featuring optional fanfare-like extensions this powerful and uniquearrangement is certain to become one of the most requested versions of our national anthem.

Songs & Piano Works by Jacob Gade. Jacob Gade (1879-1963) was an admired violin virtuoso a popular conductor and composer a pioneerin Danish film music as well as a theatre managerand publisher. Internationally he became celebratedfor his tango “Jealousy” which has become one of thebiggest evergreens in music history.

Intermezzi from the opera Under Himlen was composed by Bent Sørensen in 2003. Scored for 2 Mezzosoparanos and Orchestra. Text by Peter Asmussen. Programme Note: In March 2003 when the Royal Theatre premiered the composer Bent Sørensen’s and the dramatist Peter Asmussen’s opera Under the Sky it was not only Bent Sørensen’s first opera on the large scale but also his first work as a music dramatist at all. The challenge of composing an opera came from the general manager of the Danish National Symphony Orchestra/DR Per Erik Veng who had asked Asmussen in 1996 whether he would write the librettofor an opera and pick out a composer to work with on it. Asmussen was willing and he pointed to Bent Sørensen as the composer. Bent Sørensen reacted positively to Per Erik Veng’s suggestion of an opera collaboration with Asmussen and with the opera agreement settled the Danish National Symphony Orchestra/DR was then offered an independent work. It is related to the opera but sheds light on it from a different angle Bent Sørensen himself compares it to a film ‘trailer’. The result is Intermezzi a suite in five movements. Intermezzi is expressly not just a garland of selected episodes from the opera but an independent work built up in one long symmetrical sequence with instrumental passages in the middle of the first third and fifth movements as well as the purely instrumental second and fourth movements as the bearing pillars of the work. Fragments of the story of Ida and Molte (both mezzo-sopranos) are told but they do not happen in the same order or with the same conclusion as in the opera. In this way Intermezzi becomes a comment on how not everything in the past is necessarily what it seems or what one at first makes of it. In the first movement Ida sings to Magius that she is carrying Molte’s child while from afar Molte observes the idyllic world from the outside. The second movement is

This James Bond theme tune was released in 1981 with the film starring Roger Moore. The vocalist, Scottish singer Sheena Easton , beat out the band Blondie to record the song which went on to become a chart success and nominated for an Academy Award. The soaring love song integrates the signature style of Bond themes usually composed by John Barry, but this time written by Bill Conti and Mick Leeson. With a great use of dynamic range this SATB arrangement by Thomas Lydon captures the seduction of the classic Bond film. / Choeur Mixte (SATB) Et Piano