Aspects of Love

Love Changes Everything' was the triumphant number that almost became more famous than the Andrew Lloyd Webber show in which it originally featured. Aspects Of Love opened in London in 1986, adding lustre to Michael Ball's career and launching this emotional song as an instant classic. Here it is arranged for SATB with Piano accompaniment. / Choeur Mixte (SATB) Et Orgue

L' étape 1-3 de série de l'étape , espère fournir une base très solide pour la lecture , la compréhension et la position des changements . Il permet aux enseignants de développer la musicalité , la technique de doigt ( force, l'indépendance , legato et staccato parfait , gradation ( contrastes de fort et doux d'abord , puis plus en plus fort et plus doux ) , la reconnaissance des concepts clés de base , le renforcement de la lecture dans les touches familières avec les progrès dans d'autres concepts ( soit le ton, articulation ou d'addition de nouvelles compétences ) et une sensation claire de rythme en utilisant des airs familiers et ' parler ' agréable intégration des aspects théoriques et sonores . on espère également que les mélodies familières parents savent aussi , le soutien et d'encouragement, si vital au cours de ces premières étapes sera donné par eux. Cette entreprise de base et ' Step by Step' le concept libère progressivement dans le monde classique de styles et de l'interprétation , sans oublier que plus grande partie de ' Fun Pieces' encore inclus au le dos de chaque livre pour le plaisir des enfants et des parents / Piano

A dramatic work for schools or young choir groups, based on Mark Twain's much-loved stories. This hour-long production centres around the lives of Huckleberry Finn and his friend Tom Sawyer, with parts for 12 upper solo voices as the characters from the depression-era deep south. Composed in 1956 as an Operetta for performance with Chamber Orchestra, this vocal score is complete with a full Piano reduction of the Orchestral material. / Scores

Love Changes Everything from Andrew Lloyd Webber's musical Aspects Of Love. Arranged for SATB with Piano accompaniment by Ed Lojeski.

A Method For Developing Sight-Reading Skills In 4 Parts. Par RAE JAMES. Il s'agit des quatrième et dernières volumes par James Rae dans la série d'yeux et les oreilles avec succès - un cours pour développer des musiciens pour clarinette et saxophone aborder tous les aspects et toutes les techniques d'orchestres réussie. Une partie du duo est incluse pour l'enseignant fournissant l'étudiant avec l'appui et l'élan pour continuer ! Egalement, les tests de spécimen (solo) sont inclus comme rencontrés dans un examen typique. Déjà publié : yeux et les oreilles 1 - Fondation (1 - 2) 21144Eyes de l'UE et oreilles 2 - la prochaine étape (2 - 3) 21145Eyes de l'UE et oreilles 3 - intermédiaires (3 - 4) UE 21146 Biographie : James Rae est une figure de proue dans le domaine de l'éducation musicale. Ses compositions pour instruments à vent sont largement publiées et bien connues comme étant les deux éducatifs et immédiatement appel aux élèves. Ses compositions sont fixées sur les programmes d'examen mondial./ Méthode / Saxophone

Par DATESMAN KYLE. Perhaps the first 5-string banjo book of its kind, Renaissance and Elizabethan Music for Banjo consists entirely of music from these early periods and provides banjo players with \'growing material\''that is, the opportunity to play in a number of different keys besides G major. This detail alone will expand your banjo horizon by requiring the use of unusual chord shapes. Written for classical banjo enthusiasts who want to further enhance their musicianship, some selections reveal one of the earliest aspects of music theory, that of modal scales. Various compositional forms and unfamiliar tempos are also introduced in arrangements that will help you become less dependent on the open fifth string. This type of music would be extremely difficult to learn by ear, so a book of tablatures should prove to be invaluable. Every piece is presented first in a vertical chord arrangement, which was the way it was originally intended' and then arranged in a linear horizontal style more familiar to modern players. Every tune is accompanied by performance notes supported by a helpful glossary. Written in tablature only with access to online audio, these pieces also make great finger-limbering exercises! Includes access to online audio. / Date parution : 2022-01-18/ Recueil / Banjo

20 Most Famous Rock and Pop Songs. Ce volume réunit les plus beaux titres de dix ans de Schott Saxophone Lounge avec Dirko Juchem : des classiques poétiques comme Fields Of Gold ou Imagine rencontrent des hits du saxophone façon Baker Street et La Panthère rose. Les aspects qui tiennent à coeur à Juchem et des mélodies célèbres de la pop et du rock sont mis en valeur grâce à des arrangements faciles à jouer pour saxophone alto ou ténor. Les versions complètes et en play-along sont téléchargeables gratuitement au format MP3. / Niveau : Facile à Intermédiaire / Recueil / Saxophone Ténor

Par CRAXTON J. / RICHARDSON A.. Suite directement à la ' premier livre de hautbois Solos ' techniquement et musicalement, cette deuxième collection de solos introduit des joueurs d'une capacité intermédiaire à un exceptionnellement large éventail de musique. Toutes les 28 pièces ont été choisis pour encourager l'attention sur les aspects techniques de jeu au hautbois, écrite de manière réfléchie qui permet aux joueurs de temps pour examiner la respiration et le ton de qualité ainsi que de production sonore de base. Notes courtes sont fournies pour chaque pièce et on espère que ce sera utiles./ Recueil / Hautbois et Piano

Dans ce deuxième album composé par dessus arrangeur Hans-Günter Heumann ('Klavierspielen - mein Hobby', 'Pianotainment ') pour piano solo, il jette un regard sur le vif et les côtés sombres d'émotions. Douze pièces pour piano émotionnels reflètent tout l'éventail du clair au sombre, la lumière et l'ombre. Les compositions prennent les auditeurs dans le pays de 'la musique minimale', combinant des éléments de percussion et de méditation avec les aspects mélodiques merveilleux.Le caractère sombre et mystique de ces compositions expressives sera fascinent chaque joueur de piano de pointe et être avec eux pour toujours. / Piano

Par PEARCE J. / GUNNING C.. Cette collection introduit des acteurs au niveau débutant à une exceptionnellement vaste gamme de musique. Tous les 27 pièces ont été choisis pour encourager l'attention sur les aspects techniques fondamentales de jouant de la flûte tels que la qualité de ton, de rythme et de dynamique. Les pièces sont disposées dans l'ordre approximatif de difficulté, permettant aux joueurs de consolider les compétences techniques et une expression musicale naturelle comme elles progressent à travers le livre./ Recueil / Flûte Traversière et Piano

Alfie Andante (Piano Concerto No.21 in C) [Mozart, Wolfgang Amadeus] Another Suitcase in another Hall (Evita) Anthem (From Chess) Barcarolle (The Tales Of Hoffmann) [Offenbach, Jacques] Big Spender (From Sweet Charity) Bring Him Home (Les Miserables) Can You Feel The Love Tonight (The Lion King) Can't Help Lovin' Dat Man (From Showboat) Desafinado Do You Know The Way To San Jose ? Fever From Here To Eternity Georgia On My Mind I Don't Know How To Love Him (From Jesus Christ Superstar) I Dreamed A Dream (From Les Miserables) Intermezzo In B Flat Minor Op.117 No.2 [Brahms, Johannes] Largo (Xerxes) [Handel, George Frideric] Let's Call The Whole Thing Off Love Changes Everything (From Aspects Of Love) Love Letters Lover Man (Oh Where Can You Be) March (Aida) [Verdi, Guiseppe] Monk's Mood More Than You Know Nessun Dorma (Turandot) [Puccini, Giacomo] Perdido Round Midnight Satin Doll Schindler's List (Theme) Second Movement ('pathetique' Sonata In C Minor Op.13) [Beethoven, Ludwig Van] Send In The Clowns (A Little Night Music) Smile Smoke Gets In Your Eyes Somewhere In Time Speak Softly Love Stormy Weather Strangers In The Night Summertime The Girl From Ipanema (Garota De Ipanema) The Music Of The Night (From The Phantom Of The Opera) The Nearness Of You The Young Prince And The Young Princess (Sheherazade) [Rimsky-korsakov, Nikolay] Theme (E.T.) Theme (Lawrence Of Arabia) Waltz (The Sleeping Beauty) [Tchaikovsky, Pyotr Ilyich] Where Do I Begin (From Love Story)

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

Bert Transcribed - The Bert Jansch Songbook, Volume 2 contient 30 chansons du légendaire guitariste et auteur-compositeur-interprète Bert Jansch. Chaque chanson a été méticuleusement transcrite et annotée par une équipe internationale d'experts de Jansch afin de couvrir tous les aspects du style et de la technique révolutionnaires de Bert. Pour ce volume, ils ont également eu la chance de pouvoir se référer à certains des travaux préliminaires de Bert lui-même (récemment découverts) dans ce domaine, expérimentant certains logiciels dans les années 1980. Ce recueil propose donc les transcriptions les plus précises et les plus définitives de la musique de Bert qui aient jamais été publiées. Le volume 2 comprend les tablatures de guitare, la notation standard, les symboles d'accords, les grilles d'accords de guitare, la ligne mélodique et les paroles complètes de 30 chansons représentant la totalité de sa carrière. Les chansons sont précédées de commentaires détaillés et d'une analyse de leur exécution, ainsi que d'une introduction complète offrant un éclairage sur le son unique de Jansch. Ask Your Daddy Carnival Come Back Baby Courting Blues Daybreak Downunder Go Your Way My Love High Days I Am Lonely It Don't Bother Me The January Man Kingfisher Love Is Teasing M'Lady Nancy Morning Brings Peace Of Mind My Pockets Empty No Exit Oh How Your Love Is Strong The Old Triangle One For Jo The Road Tae Dundee Rosemary Lane Tell Me What Is True Love The Time Has Come Toy Balloon Veronica (The Casbah) The Wheel Wild Mountain Theme Wishing Well Woman Like You / Guitare tablatures / Hal Leonard