Par EMBRACE. Les singles de ce premier album dominé la dernière partie, si les années 90, comme tout le monde a salué Embrace comme la nouvelle Oasis, mais ensuite le battage médiatique est mort vers le bas et Embrace ont émergé comme un acte de haut, penning certaines chansons pop étonnantes. Il s'agit de la transcription de la note-pour-note authentique de cet album. Cet arrangement pour piano, chant et guitare en notation standard, des cordes et des diagrammes : le livre comporte également des paroles complètes et une mélodie vocale transcrite./ Recueil / Piano, Chant et Guitare

Springing from the Britpop phenomenon of the late-90s Embrace combine the classic rock style and swagger of Oasis with the introspection and anthemic power of The Verve and this special collection features 19 of their greatest songs. From the original breakthrough single All You Good People right up to songs from their fourth album Out Of Nothing every one of the band's biggest hits has been arranged for Piano Voice and Guitar. Also includes the songs Ashes Gravity and Three Is A Magic Number.

Par EMBRACE. The official England anthem of the FIFA 2006 world cup tournament, presented for Piano, Voice and Guitar. / Niveau : Facile / Feuillet / Piano, Chant et Guitare

for B-flat Instruments-This second volume follows up on the success of the original volume of solos transcribed exactly from recordings by the Bird with 60 more of Parker's best. Songs include: Bird Feathers · Bird of Paradise · Body and Soul · Cherokee (Indian Love Song) · Cool Blues · Crazeology · Drifting on a Reed · Embraceable You · Groovin' High · I'll Remember April · Love for Sale · My Old Flame · A Night in Tunisia · On a Slow Boat to China · Quasimodo · 'Round Midnight · Salt Peanuts · Sweet Georgia Brown · Tiny's Tempo · What Is This Thing Called Love' · and more. Includes preface by book transcriber Charles Doc Stewart.

Une excellente sélection de partitions pour piano facile du maître George Gershwin. Ses meilleures compositions y sont inclus, de Summertime à Rhapsody In Blue en passant par Embraceable you. Indispensable à votre repertoire ! / Variétés Internationales / Partition /

The lush string writing of Neal Hefti and beautiful trombone playing of Ira Nepus is showcased in this collection of 10 ballads that every trombone player will enjoy having in their repertoire. Includes: Stardust · Yesterdays · Embraceable You · What's New · Blue Moon · Smoke Gets in Your Eyes · Memories of You · Laura · Can't Help Lovin' Dat Man of Mine · Willow Weep for Me.

Complete Approach To Playing Tunes-This second volume of Jazz Guitar Standards contains a collection of 22 Jazz standards each containing a chord melody a comping etude and a single-note solo. All arrangements are presented in standard notation and tablature forthe beginning to intermediate guitarist. Tunes include: 'All of You' 'April in Paris' 'As Time Goes By' 'Bluesette' 'But Not For Me' 'Can't Help Lovin' Dat Man' 'East of the Sun (and West of the Moon)' 'Embraceable You' 'In Your Own Sweet Way' 'It Don't Mean a Thing (If It Ain't Got That Swing)' 'I've Got You Under My Skin' 'Long Ago (and Far Away)' 'Misty' 'My Funny Valentine' 'Night and Day' 'Smoke Gets in Your Eyes' 'Someone to WatchOver Me' 'Speak Low' 'Summertime' 'The Way You Look Tonight' 'What Is This Thing Called Love'' and 'You Go To My Head'. Arrangements by Chris Buzzelli Dave Frackenpohl Barry Greene Sid Jacobs LaRue Nickelson John C.Purse Bruce Saunders Rick Stone Ron Berman and Jack Wilkins.

Transcribed From 22 Classic Standards. Par CARTER RON. 22 fantastic bass solos (in bass clef) from various recordings over Ron Carter's legendary career as a first-call bassist for many jazz greats. Includes: Bass Blues, Bessie's Blues, Bohemia After Dark, Corcovado, Dance Of The Sugar Plum Fairy, Embraceable You, Good Bait, Hi Fly, I Can Dream, Can't I?, I Could Write A Book, I Fall In Love Too Easily, I Should Care, I Thought About You, Jesu, Joy of Man's Desiring, My Funny Valentine, My Romance, Ouverture Miniature, Que Pasa, Summertime, Sweet Lorraine, and This Time The Dream's On Me. / Rép International / Recueil / Guitare Basse

Standards for Tenor Sax-Glenn Zottola is best known as a brilliant swinging trumpeter who occasionally doubles on alto sax. On this special project he is heard as a talented tenor saxophonist who draws on the sounds and styles of Lester Young and Coleman Hawkins finding his own voice somewhere in between. Glenn sounds quite at home playing with the vintage rhythm sections yet gives the music his own special twist. We've transposed Glenn's every note enabling the at-home player to study and emulate these improvised solos. The sheet music also contains the original melody line of these classic standards plus chords and an alto sax part so that both Bb and Eb saxes can play these great standardswith equal enjoyment with an all-star rhythm section. Includes: Body and Soul · Embraceable You · Oh Lady Be Good · You Go to My Head · and more.

At First Light was commissioned by Eric Bruskin a resident of Philadelphia USA in memory of his mother. Eric had a longstanding enthusiasm for my work and I was touched to be the person he approached for a task which is both a privilege and a daunting responsibility. In a sense no music can ever measure up to the weight of love or the hope of consolation vested in it under such circumstances – but in memory I carry the deaths of both my own parents and I was able to draw upon that. Eric’s fondness for my Cello Sonata (itself written in memoriam) led him to ask that I include a solo ‘cello part in the new work – but his attachment also to my polyphonic sacred choral writing meant that he wanted a centrepiece which would be both a showcase of that approach and the celebration of a life well lived. Therefore the seven movements of At First Light arrange themselves as a series of slow meditations surrounding an exuberant 9-minute motet in which the lamenting cello falls temporarily silent. Eric’s Jewish faith meant that approaching an agnostic humanist brought up within the Anglican tradition was hardly free of problems! Gradually though I was able to win his approval for a collated mosaic of texts. This embraces some liturgical Latin (necessary for the motet) as the shared preserve of broad western culture in general but balances it with a secular approach to loss celebration remembrance and the many shades of our mourning those whom we see no longer. Eric was adamant that he did not want the title Requiem; but what has emerged is still a form of semi-secular Requiem in all but name taking its title instead from a phrase in the poem by Thomas Blackburn set as the third movement. This seemed to suggest succinctly how the loss of one very close to us is an awakening into an unfamiliar world where everything is changed. Following the exuberant central movement the texts by the Lebanese-born Kahlil Gibran and the US Kentuckian poet Wendell Berry first address the departed loved one directly then place us within an imaginary funeral cortège where the perennial and universal in human experience become personal without subscribing explicitly to any particular faith (or lack of it). The final text of all is a translation of a Hebraic prayer requested and provided by Eric Bruskin which serves to mirror its Latin counterpart heard at the outset. Throughout the lamenting cello represents a commentary on the experience articulated in the text. It evokes and in a sense tries to embrace and sanctify the individual existential journeys of the bereft as they in turn seek to make their own sense of what the short-lived Second World War poet Alun Lewis called ‘the unbearable beauty of the dead’ (movement 5). In a modern world hostage to ever greater menace displacement bloodshed and anguish I hope fervently that this music not only brings a measure of solace to the person who commissioned it but also makes its own small contribu