The Lion King for Cello

Instrumental Play-Along. Nine instrumental solo arrangements with full demo and lovely accompaniment tracks so you can play along and sound like a pro! Songs include: Can You Feel the Love Tonight ? Circle of Life ? Hakuna Matata ? He Lives in You ? I Just Can't Wait to Be King ? The Lion Sleeps Tonight ? Never Too Late ? Spirit ? Stampede. Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.

Boost your performance with these songs, all specially arranged for students at Grade 2 level. Songs include ?Someone Like You? (Adele), ?Shotgun? (George Ezra), ?Havana? (Camila Cabello), ?He?s a Pirate? (Pirates of the Caribbean), ?Star Wars: Main Theme? (John Williams), and more. Demonstration, backing tracks, and piano accompaniment PDFs are included in the price of this book and can be streamed or downloaded using the unique code found inside. This edition includes PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right - available exclusively from Hal Leonard.

rtitions pour piano, voix et guitare de la bande originale du film "Le Roi Lion". Musique par Elton John, paroles par Tim Rice. Couverture du livre en 3D, édition Deluxe. Vendu sous cellophane.

Par . This collection features 23 Disney hits arranged for duets among two cellos or cello and violin. / Date parution : 2022-06-14/ Recueil / 2 Violoncelles

Instrumental Play-Along-A dozen hot contemporary hits are included in this collection perfect for budding instrumentalists. This volume in the Hal Leonard Instrumental Play-Along series contains arrangements for the Cello with online access to audio demonstration and backing tracks for download or streaming to help you hear how the song should sound then play along and sound like a pro! Songs include: ?Believer? ?Can't Stop the Feeling? ?Despacito? ?It Ain't Me? ?Look What You Made Me Do? ?Million Reasons? ?Perfect? ?Send My Love (To Your New Lover)? ?Shape of You? ?Slow Hands? ?Too Good at Goodbyes? ?What About Us?.

Now solo instrumentalists can play play along with 14 intermediate-level tunes from Musicals like The Sound of Music, Mary Poppins and Beauty and the Beast. These books include CDs with orchestral accompaniment tracks.ABC (THRILLER - The Musical)Always Look on the Bright Side (SPAMALOT)Beauty And The Beast (BEAUTY AND THE BEAST)Belle (BEAUTY AND THE BEAST)Circle of Life (THE LION KING)Defying Gravity (WICKED)Good Morning Baltimore (HAIRSPRAY)I Just Cant Wait To Be King (THE LION KING)My Favourite Things (THE SOUND OF MUSIC)One Short Day (WICKED)Sixteen Going On Seventeen (THE SOUND OF MUSIC)Supercalifragilisticexpialidocious (MARY POPPINS)That Face (THE PRODUCERS)We Are The Champions (WE WILL ROCK YOU) / Violoncelle

The Secret Of Technique In Cello Playing.Daily practice for soloists and advanced players by Albert Sammons. Op20. Transcribed by Lionel Handy. 'I was introduced to Albert Sammons' classic work The Secret of Technique in Violin Playing by Hugh Bean. I was fortunate to play chamber music with Bean for many years and he maintained that his ability to keep his technical level was largely due to Sammons teaching in general and this book in particular. Bean was a pupil of Sammons for more than twenty years and believed that this concise work was ofgreat benefit to students and also professional players with limited practice time. I am very grateful to Mr Richard King Sammons grandson and Mrs Mary Bean for allowing me not only to transcribe this work for Cello but also to include where appropriate the suggestions Sammons made in his original text and the additional notes that Bean added in the 2002 edition. I have tried to stay as close as possible to Sammons material but some adaptation has obviously been necessary. I hope that my own comments for cellists will clarify the changes that have been made and are offered as Hugh Bean said in his 2002 edition in the spirit of wishing to help both aspiring and established string players utilize to the full their practice time. Although this transcription contains several exercises not found in the classic Cello studies of Popper Duport and Grutzmacher et al I hope that the unorthodox nature of these exercises will broaden and free the imagination of cellists by providing a more extended approach to Cello technique.' - Lionel Handy

(Four Cities)-Faz?l Say?s ?Four Cities? Sonata can be considered as a journey through four cities of Anatolia. This work has taken its inspiration from Faz?l Say?s memories and events of his life. Bodrum is well known as a city greatly frequented by tourists which sets it apart from the other three locations. These four very different cities with their individual cultures have been selected from the nearly 2000-km wide expanse of Anatolia. SivasSivas is a conservative city located in Eastern Anatolia which is known for its large Alevi population. As¸?k Veysel is an Alevi Ozan (poet) and Faz?l Say has been inspired by his song ?Saz?m? (my saz/myinstrument) in the first part of this work. The movement is concluded on a melancholy tone in imitation of this ethnic instrument. HopaA traditional wedding provided Faz?l Say with his inspiration for this second movement which embraces Eastern Black Sea culture. Horon is a very fast folk dance in 7/16 time which is played on the kemence a typical instrument of the Eastern Black Sea region. The music also touches on Caucasian Georgian and Laz dances anonymous songs ?Laz women? and ?Cilveloy nanayda? (a Turkish song). AnkaraAnkara was declared the capital city of Turkey by Atatürk in 1923. This city with its population of four million was where the composer was born and also spent his childhood. ?Ankara?n?n Tas¸?na Bak? a rebellious song dating back to the First World War can be discerned in the mournful middle section. The movement with its atmosphere of tragedy evokes the republican spirit and the ambience of former times. BodrumBodrum is universally known as the Saint-Tropez of Turkey. A famous street in the city is fringed with countless bars and pubs from which a cacophony of different music can be heard ranging from jazz pop and rock to folk songs. Faz?l Say blends the sounds from these pubs in this movement which includes a walking theme in a swinging jazz tempo. The movement makes a

Adèle ... Twilight. Le Playbook ultime pour Piano - organisé par Hans-Gunter Heumann.Ce livre contient un nouveau jeu de 50 généreux chansons qui ont une chose en commun: ils étaient tous, même au sommet des charts absolue.Un petit aperçu de la sélection de chansons ainsi que vous donne envie de plus: Fire To The Rain (Adele), California King Bed (Rihanna), Can't Get You Out Of My Head (Kylie Minogue), Dieser Weg (Xavier Naidoo), Ich geh in Flammen auf (Rosenstolz), Video Games (Lana Del Rey), Nightbook (Ludovico Einaudi), Halo (Beyoncé), Wenn Worte meine Sprache wären (Tim Bendzko), You And Me (In My Pocket) (Milow), Hallelujah (Leonard Cohen), Moves Like Jagger (Maroon 5 Feat. Christina Aguilera), Comptine D'un Autre Eté aus dem Film 'Amélie?, Feather Theme (Titelmelodie aus 'Forrest Gump') / Piano

Born into a family that had lived in Florence since the expulsion of the Jews from Spain in 1492 Mario Castelnuovo-Tedesco (1895-1968) entertained only a distant relationship with the music he heard at synagogue: a Renaissance church held more appeal for the Florentine artist than the Oriental décor of his forefathers’ place of worship. It was only when he discovered Schelemo a rhapsody for cello and orchestra written in 1916 by Ernest Bloch that he began to understand what “Jewish music” could be. It would take until the death of his maternal grandfather and the discovery of a collection of prayers set to music among his papers for the youngCastelnuovo-Tedesco to begin to explore Jewish music. In 1928 two years after publishing the Dances of King David he wrote this Vocalise-Étude for medium voice and piano at the request of vocal teacher Amédée-Landély Hettich who wanted to include it in the Répertoire moderne de Vocalises-Études published by Leduc. The piece became so popular that it led to several adaptations and the composer asked his close friend Gioacchino Maglioni (1891-1966) to transcribe it for violin and piano. Divided into three sections the work opens with a poignant lamento that grieves the tragic fate of the Jewish people. Countering what he felt to be a tendency of Jewish music to transform into a “Wailing Wall” Castelnuovo-Tedesco follows the lamento with a folk dance whose brisk “lively and stubborn” movement has great panache. The third section returns to the initial poignant theme before briefly reiterating the dance motif allowing the piece to conclude on a hopeful note.

Evis Sammoutis' Particles (2015) for Flute (doubling Piccolo and Alto Flute) Violin and Cello. Particles was commissioned by the 2015 Milano EXPO for the musicians of the Divertimento Ensemble. The composer was one of 50 finalists selected after an International Competition by Expo 2015?s Italian Pavilion. The competition was organised by Divertimento Ensemble in collaboration with the City of Milano theRegion of Lombardia MITO SettembreMusica and Sentieri selvaggi and all composers had to create compositions inspired by the theme 'Feeding the Planet Energy for Life'.The composer decided toconcentrate on exploring the notion of ?Particles? (the smallest basic units of matter and energy) as the means of creating the main formalprofile of this composition. This notion extends to all formal devises (texture figure and gesture).To use an analogy listening to this composition should feel like looking at a mosaic from an extremely short distance one?s eyes almost touching the intrinsic small tiles that create the larger picture. From this alternative perspective one begins to observe completely different patterns which went unperceived as part of the greater picture just as a closer look at a mosaic might reveal intricate bands of colour that would have been unnoticed from a greater distance. When this happens one can really appreciate the tiny details and nuances of the composition.Seen from afar these ?particles? create different textures than they do from a closer distance or through a microscope exploration different matters and different qualitiesof energy. This composition brings into foreground microscopic ?pictures? of the particles that constitute the totality of the work while simultaneously andunavoidably giving in its totality a larger formal picture over the course of time.Whilst the music is constructed into noticeably different blocks of sound each segment nevertheless

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