I Sing To Use The Waiting

The second volume of a thousand and one all-time hit songs ranging from essential standards to the latest pop hits - a must for all singers and musicians. / Chant Et Guitare

Simply arranged must-know collection of classic pop hits Broadway standards and more!-If you've learned enough piano to want to venture out of your lesson books and into songbooks and play your first duet with a friend or teacher this is the book for you! This collection of simple arrangements feature classic pop hits Broadway standards and more. Songs include: Autumn Leaves · Bridge over Troubled Water · Can't Help Falling in Love · Chopsticks · Fields of Gold · Hallelujah · I Walk the Line · I Will Remember You · Imagine · Lean on Me · Theme from New York New York · Over the Rainbow · Peaceful Easy Feeling · Singin' in the Rain · Stand by Me · A Thousand Years · What the World Needs Now Is Love · You Raise Me Up · and more. Format: Primo and Secondo on opposing pages.

Building on 36 Solos for Young Singers (available as HL00740143) this collection contains traditional and folk songs with limited ranges for late-elementary to mid-teen singers. The book includes intermediate-level piano arrangements and the companion CD features professionally recorded accompaniments for performance or practice.Songs include: 'The Band Played On' 'Grandfather's Clock' 'The Glendy Burk' 'I'm Forever Blowing Bubbles' 'Love's Wondrous Garden' 'This Little Light of Mine' 'Wait for the Wagon' and more. Ideal contest solos for young singers!

Guitar Play-Along Volume 126-The Guitar Play-Along series will help you play your favourite songs quickly and easily! Just follow the tab listen to the CD to hear how the Guitar should sound and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing or to simply help you follow along. The audio CD is playable on any CD player and also enhanced so PC

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

Here is the one you've been waiting for! Legendary pianist/composer Mark Hayes has compiled the best of his best into an amazing potpourri of praise that will become an indispensable addition to your sacred library. All of Mark'samazing versatility is here ? from jazzy contemporary songs to classic hymn settings from virtuosic concert pieces to meditative worship moments that will thrill the soul and melt the heart. Don't miss this best-sellingtreasury of one of America's most celebrated arrangers. Highly recommended!Contents: Tribute to America ? Savior like a Shepherd Lead Us ? Sing We Now of Christmas ? Masters in This Hall ? His Eye Ison the Sparrow ? Amazing Grace ? Nobody Knows the Trouble I've Seen/All Day All Night ? Once to Every Man and Nation ? It Is Well with My Soul ? Higher Ground ? Jesus Keep Me Near the Cross ?Simple Gifts ? I Need Thee Every Hour ? Joshua Fit the Battle of Jericho ? Shall We Gather at the River/Near to the Heart of God ? Praise to the Lord the Almighty ? Silent Night ? Be Thou My Vision.

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