Toutes les chansons du troisième album de ce groupe indie-rock américain, arrangé pour l'onglet de guitare, complet avec paroles complètes. Interpol sont Paul Banks, Carlos Dengler, Daniel Kessler et Samuel Fogarino / Guitare / 80 pages / Partition

Par PART ARVO. The basic musical material of 'Pari intervallo' by Arvo Pärt consists of two parts which move exactly parallel to each other, so that the interval between them is always the same- hence the title. 'Pari Intervallo' is reminiscent of achorale prelude which might be prefaced with the lines from Romans 14/8: 'lf we live, we live to the Lord, and if we die, we die to the Lord.' Now for the first time available as a single edition for organ. / Musique contemporaine / Répertoire / Orgue

The World'S Loudest Songbook Featuring 45 Headbanging Songs. Shred your axe and thrash your big hair through the air with this jam-packed collection of 45 metal faves in note-for-note guitar trancriptions with tab. Songs include: Ace of Spades - Bark at the Moon - Breaking the Law - Crazy Train - Dying in Your Arms - Enter Sandman - Hail to the King - Iron Man - Master of Puppets - No More Tears - Painkiller - Redneck - Symphony of Destruction - Toxicity - War Pigs (Interpolating Luke's Wall) - Your Betrayal - and more. 430 pages of awesomeness!/ Tablatures / Guitare Tablatures

Par NOURSE NANCY. The four preludes included in this collection are each based upon a tune associated with a particular time of the church calendar. The Lenten prelude, Meditation upon 'Forty Days and Forty Nights', likewise employs a theme with interpolations approach. The hymn tune, Heinlein, is most closely associated with the English text, 'Forty days and forty nights, Thou wast fasting in the wild'. However in the midst of this piece occur short musical representations of the three temptations. In the case of the Variations on an Old French Carol, its association is with both Easter in its text of 'Love is Come Again' and in its Christmas text of 'Noel Nouvelet' (or as sung in English, 'Sing We Now of Christmas'). The advent prelude, Meditation upon a Sarum Plainsong, uses the 7th century plainsong chant Conditor Alme Siderum as its basis, with frequent trope-like interpolations occurring between the phrases. Even more simply conceived, the rendering of the Victorian Christmas hymn, Once in Royal David's City. The first verse is played sweetly and simply, while harmonic material is added for verses two and three./ Répertoire / Flûte Traversière

Ten-song matching folio: Electric Funeral o Fairies Wear Boots (Interpolating Jack the Stripper) o Hand of Doom o Iron Man o Jack the Stripper o Luke's Wall o Paranoid o Planet Caravan o Rat Salad o War Pigs (Interpolating Luke's Wall). / Guitare Tablatures

These fresh arrangements of fourteen old English hymns combine both classical and folk elements for a delightful effect. The flute soloist is encouraged to embellish the melodies once the basic tunes have been mastered. Thesesolos with piano accompaniment have been modified from the Green Hill CD version to facilitate smooth interplay between the soloist and accompanist. Artistic and facilitate smooth interplay between the soloist and accompanist.Artistic and engaging these solos will be a joy to play for church services and recitals throughout the year. Includes familiar favorite tunes such as: All Things Bright and Beautiful; Let All Things Now Living; Christ the Lordis Risen Today; For the Beauty of the Earth; I Sing the Almighty Power of God; Come Ye Thankful People Come; I Want a Principle Within; Come Thou Long Expected Jesus; and more. Early intermediate in difficulty.

Par BLEZZARD JUDITH. Judith Blezzard This book looks at English church music from a new standpoint. It examines the relationship between English church music and the various types of other music that have influenced its development, revealing a vigorous tradition of interplay with extraneous musical material that is seldom apparent from the ways in which music is presented for church use. The borrowing of music from churches outside England is explored, and a large section is devoted to the often surprisingly ingenious ways in which secular music has, since the beginnings of the English church, been appropriated as music for worship - often with controversial results. From madrigal tomusic-hall, from plainsong to popular styles: these and many other kinds of music have lent both styles and material to sacred music with English texts. By examining these musical transformations, this book demonstrates that English church music is far from being an exclusively insular and retrospective repertory, as is often presumed to be the case. Although the book, with its use of musical examples, is designed primarily for the general musical reader - both amateur and professional, its broadly historical approach will appeal to those interested in English cultural heritage, the church, and its worship. ISBN 0 85249 784 9 Judith Blezzard This book looks at English church music from a new standpoint. It examines the relationship between English church music and the various types of other music that have influenced its development, revealing a vigorous tradition of interplay with extraneous musical material that is seldom apparent from the ways in which music is presented for church use. The borrowing of music from churches outside England is explored, and a large section is devoted to the often surprisingly ingenious ways in which secular music has, since the beginnings of the English church, been appropriated as music for worship - often with controversial results. From madrigal tomusic-hall, from plainsong to popular styles: these and many other kinds of music have lent both styles and material to sacred music with English texts. By examining these musical transformations, this book demonstrates that English church music is far from being an exclusively insular and retrospective repertory, as is often presumed to be the case. Although the book, with its use of musical examples, is designed primarily for the general musical reader - both amateur and professional, its broadly historical approach will appeal to those interested in English cultural heritage, the church, and its worship. ISBN 0 85249 784 9/ Livre / Livre

Musical Grafitti (II) for amplified Piano large Ensemble and Tape 'with cosmic sounds' by Asbjørn Schaathun (1983-84).Programme noteIn Musical Grafitti(II) 'virtuoso drawings for amplified piano large ensemble and tape with cosmic sounds von den herrn Asberion Ska-tune' (1983-84) Schaathun is particularly concerned about investigating the relationship between various kinds of compositional techniques and their actual influence on the sound image and therebye on the musical language. Thus is Musical Grafitti about different settings of the same musical gesture which are presented inthe initializing Formula. At the same time Formula serves as a model for the progression of the entire piece on various levels.The computer-program SCHAATON written especially for this work by Swedish composer Bo Rydberg governs the relative intervallic relationship in the first extensive piano exposition. In this part of the piece the computer establishes the chordal focal points of the work thus rather paradoxically making itself redundant.The brief tape interpolations and the long ending consist of cosmic noise recorded by a satelite. This noise symbolizes the outermost edge of the musical continuum Schaathun is seeking to describe: from 'white' noise to music characterized by an 'advanced' syntax. To compose is to control a defined continuum of sound. In this piece the control is represended by the Formula.The piece may also be read as a big prelude to Luciano Berios 'points on the curve to find...' At one point Schaathun's 'curve' crosses Berios curve and the contours become directly involved in Berio's instrumentation before passing through and the soloist disappears into the 'coloured' noise into which the piece fades away.(+ Fransk versjon NMI)

to the concerto for piano and orchestra in G Major Hob. XVIII:4. Par HAYDN FRANZ JOSEF. Improvised and also composed solo cadenzas, normally occuring towards the end of a bravura aria or an instrumental concerto movement, have existed since the late 16th century. They provide the performer with an opportunity for self-presentation in the form of a free style of playing or singing, based on themes and motifs from previous sections of the movement. Solo cadenzas are for the most part introduced by a six-four chord held by the orchestra; the soloist begins a protracting interpolation in free stlye, subsequently culminating on the dominant chord, usually with a trill. Whereas originally composers left solo cadenzas to be freely improvised, from the middle of the 19th century onwards they were frequently specifically written out. The increasing abuse of cadenzas as a mere display of free virtuosity, ignoring the style and impetus of the composition, played a substantial factor in this development. Thus Beethoven gives the soloist no opportunity whatsoever for free improvisation in his 5th piano concerto in which the cadenza becomes an integral, obligatory component of the complete work. In this unique series Schott Music presents cadenzas created for well-known instrumental concertos from the Classical and Romantic periods by major composers and soloists of our time. Nino Rota dedicated the 'Kadenzen zum Klavierkonzert Nr. 4 in G-Dur (Cadenzas of the Concerto No. 4 for Piano and Orchestra in G major) Hob. XVIII:4' by Joseph Haydn to Arturo Benedetti Michelangeli (1920-1995), who recorded them for the label EMI./ Répertoire / Piano

Par PERGOLESI GIOVANNI BATTISTA. In 1732 Giovanni Battista Pergolesi composed a setting of the Vespers in honor of St. Emidius, Naples’s patron saint and protector against earthquakes. All that has survived are the introit Domine ad adjuvandum and three psalm settings: Dixit Dominus, Laudate and Confitebor. Malcolm Bruno’s reconstruction consists of Pergolesi’s Hymnus, Magnificat, several short instrumental interpolations, and the contrafactum of a secular cantata for the Salve Regina, thereby presenting a full cross-section of Pergolesi’s artistic evolution. The reconstructed Vespers ranges from the early Confitebor, with its allusions to Vivaldi, to the late Salve Regina with its reminiscences of thefamous Stabat Mater; from contrapuntal choral writing to operatic arias; and from the magnificently scored Dixit to the almost intimate Laudate. The present edition follows the original sources as closely as possible and contains an appendix with detailed notes on performance practice. Performance material available for hire Effective reconstruction of a full-length work Cross-section of Pergolesi’s sacred music Clear and easy-to-play piano reduction/ Répertoire / Solistes, Choeur Mixte (SATB) et Orchestre