Note-for-Note Keyboard Transcriptions

14 des chansons les plus populaires de Stevie note reproduite à des fins de note pour le clavier / Clavier / 208 pages / Partition

Note-for-Note Keyboard Transcriptions. Note-for-note transcriptions of all the piano and keyboard parts on 16 of King's greatest songs: Beautiful · Been to Canaan · Home Again · I Feel the Earth Move · It's Too Late · Jazzman · (You Make Me Feel) Like a Natural Woman · Nightingale · Smackwater Jack · So Far Away · Sweet Seasons · Tapestry · Way Over Yonder · Where You Lead · Will You Love Me Tomorrow · You've Got a Friend.

Note-for-Note Keyboard Transcriptions-29 note-for-note transcriptions for Keyboard/Organ from the original recordings that made them famous: Born to Be Wild Dirty Work Fly like an Eagle Gimme Some Lovin' Highway Star In-A-Gadda-Da-Vida Like a Rolling Stone Many Rivers to Cross Right Now Smokin' and more.

Note-for-Note Keyboard Transcriptions-A dozen of the best from the British band Coldplay presented in authentic Keyboard transcriptions. Songs include: Amsterdam Atlas Clocks Death and All His Friends Fix You For You Paradise The Scientist A Sky Full of Stars Speed of Sound Violet Hill Viva La Vida.

Note-for-Note Keyboard Transcriptions-Here are Elton John's keyboard parts for 20 top songs transcribed note for note just as he recorded them! A must for all Elton fans!

Note-for-Note Vocal Transcriptions. 12 sundrenched hits from The Beach Boys with vocal parts transcribed exactly as recorded - lead harmony and background parts and all inflections. Includes a keyboard reduction of the instrumental parts and chords labeled to be played by any instrument. Songs: Barbara Ann · California Girls · Don't Worry Baby · Fun Fun Fun · God Only Knows · Good Vibrations · I Get Around · In My Room · Little Deuce Coupe · Surfer Girl · Surfin' U.S.A. · Wouldn't It Be Nice.

Features 16 note-for-note transcriptions of acoustic piano favorites exactly as they were recorded.

This unique folio provides piano transcriptions and performance notes from two classic jazz compositions: Waltz for Debby and Very Early. Artist Transcriptions are authentic, note-for-note transcriptions of the hottest wind, electronic, guitar and keyboard artists. These outstanding, accurate arrangements are in an easy-to-read format which includes all essential lines. Artist Transcriptions can be used to perform, sequence or reference.

Grade 8+-It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists.Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the Dead Sea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbledmiraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to lookbeyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance withavant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on periodinstruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the practices that were once fundamental to the craft. On balance however the potential for a major