Traditional Spirituals for Solo Piano

Singers will cherish these powerful solo arrangements by Mark Hayes, Jay Althouse, Philip Kern, Greg Gilpin, and other fine Alfred arrangers. Including favorite traditional spirituals like Deep River, Sit Down Servant, Witness, and Down in the Valley to Pray, this inspirational collection is essential to every solo singer's library. Fresh contemporary arrangements that sing and play well, available in medium high and medium low editions, with or without the accompaniment CD.

Talented composer pianist and teacher Eug???nie Rocherolle has artfully arranged for intermediate-level solo piano nine traditional spirituals which she also performs on the accompanying CD. Includes: Deep River * It's Me O Lord *Nobody Knows De Trouble I See * Swing Low Sweet Chariot * and more.

Arrangeur: A. Campbell. Par BISSILL R. / CAMPBELL A.. Si vous vous préparez à affronter un public pour la première fois - savoir si à la maison, à l'école ou sur la plate-forme de concert - vous êtes prêt pour Going Solo. Couvrant un large éventail de répertoire de matériel original animé aux arrangements imaginatives, Going Solo offre une foule de nouveaux défis et va être apprécié par joueur et en public alike./ Recueil / Cor Français et Piano

Nine arrangements of traditional African American Spirituals for easy piano with chord symbols. Includes Deep River Go Down Moses and Joshua Fit de Battle.

For years Jim Lucas has been regarded as one of the more innovative piano arrangers for church music. His contemporary style and fresh approach breathe new life into traditional hymns and spirituals. No church pianist's libraryis complete without this fine book!Includes piano arrangements of wedding favorites such as: Jesu Joy of Man's Desiring • Trumpet Voluntary • Wedding March • Trumpet Tune • and 7 others. A listening CD(08739661) and Book/CD pack (08739660) are also available.

It's Never Too Late To Play Christmas gives players the chance to explore their favourite Christmas songs in jazzy easy-to-play arrangements. The pieces are suitable for those who have learnt for approximately one year or have reached Level 14 of the It's Never Too Late To Play Piano tutor by Pam Wedgwood. The pieces are gently progressive gradually extending players' technique through playing pieces they love!Contents: Let It Snow! Let It Snow! Let It Snow! (Cahn/Styne) We Wish You A Merry Christmas (Traditional) Past Three O'Clock (Traditional) In Dulci Jubilo (Traditional) White Christmas (Berlin) Il EstNe Le Divin Enfant (Traditional) Coventry Carol Traditional) Ding Dong Merrily On High (Arbeau) Walking In The Air (Blake) In The Bleak Midwinter (Holst) Santa Claus Is Comin' To Town (Coots/Gillespie) Quem Pastores Laudavere (Traditional) Christmas Song (Wells/Torme) The Virgin Mary Had A Baby Boy (Spiritual) Adeste Fideles (O Come All Ye Faithful) Silent Night (Gruber) Winter Wonderland (Duet) (Smith/Bernard)

Il n'y a pas de son tout à fait comme les riches, grondements notes bass et de conduite des triples cordes de piano de gospel traditionnel. Un bon pianiste église dans la tradition sanctifiée ou sainteté peut obtenir une congrégation chantant, balancement et applaudissements ainsi que dans une expression débordant de joie de l'esprit et de la foi. Ce cours inspirational est parfait pour les novices et les joueurs intermédiaires qui veulent apprendre à jouer spirituals familiers et hymnes dans le style traditionnel Evangile. Inclut un livret de la musique. / Piano (Ou Clavier)

This collection contains something for everyone ... a bluesy spiritual gentle lullabies concert pieces lush settings of old favorites and even a medley of secular titles. Mark Hayes' style is unlike any other. Given to mood andstyle shifts one moment the carol is traditional the next it's in the style of Mozart and the next it's in the style of Chopin. Some easy some not so easy but all are exciting. Songs include: We Three Kings ? I Wonder asI Wander ? Rise Up Shepherd and Follow ? O Little Town of Bethlehem ? Masters in this Hall ? Manger Medley ? and four more. Highly recommended!

Award-winning composer, arranger, pianist and recording artist Mark Hayes has crafted a superb anthology of ten traditional spirituals for vocal soloist with piano accompaniment in true art-song style, ideal for school or church singers. Titles: Deep River * Go, Tell it on the Mountain * Steal Away to Heaven * I Feel the Spirit Moving * There is a Balm in Gilead * Behold the Star! * My Lord, What a Morning * The Gospel of Grace * Give Me Jesus * Joshua Fit the Battle of Jericho.

Hymns I Know celebrates the great riches of our spiritual heritage. These cherished tunes and lyrics have been thoughtfully paired with Bible verses and beautiful full-colour illustrations to help bring a deeper meaning andunderstanding to the words of the songs. Arranged for the developing elementary pianist the music corresponds well with any piano method. Hymns I Know helps to build a firm foundation in sacred tradition encouraging hymns and sacred music to become a part of children’s everyday language and is sure to be long treasured by students teachers and parents.

Piano Reduction including solo part. Par DENISOV EDISON. The catalogue of Edison Denisov's works includes 16 concertos. It was a genre to which he returned time and again throughout his life, from the Concerto for Cello and Orchestra of 1972 to the Double Concerto for Flute, Clarinet and Orchestra of 1996. In Denisov's music the role of the soloist, or rather the protagonist, is extraordinarily important, not so much for its virtuosity as for its confessional character. The solo part is a monologue distinguished by poetic diction and a very personal message from the composer. The dramaturgical conception of the Concerto for Saxophone and Orchestra, a reworking of the Viola Concerto of 1986, draws on traditional sonata form, thereby reaffirming the ubiquitous classicism in Denisov's thought. In this late work, we find all the typical features of his style: sinuous melodic lines layered into dense contrapuntal textures, and an interplay of orchestral colours, with pure sonorities contrasting with complex mixtures of sounds. It is a perfect dramaturgy that governs the evolution of the music to the very end. The first movement assumes the role of a sonata-allegro, with the standard formal sections of exposition, development, recapitulation and coda. The second movement is an Adagio for strings. The third takes the form of a little contrasting intermezzo that introduces both new thematic material and a new range of colours. Here tunefulness gives way to pointillism enriched with sonic effects. The only movement with a virtuosic solo part, its nervousness and inner tension set it worlds apart from the second and fourth movements that surround it. The fourth movement assumes the traditional form of a final set of variations. It is the dramaturgical and semantic heart of the concerto. The theme of the variations is Franz Schubert's Impromptu in B-flat major, op. 142, which in this case is 'born' from the celesta as the product of a dodecaphonic string cluster. This finale represents Denisov's homage to his great mentor, Schubert's music being for him a symbol of eternal and universal beauty. 'The attentive listener', Denisov stressed, 'will recognise that the Impromptu theme is already suggested very slowly in the course of the three preceding movements, not only thematically, but also psychologically. That's what makes the appearance of the Schubert theme sound so natural.' The variations relate to the variation genre less in their form than in their spiritual and conceptual metamorphoses. It is, one might say, 'music round about Schubert'. (Ekaterina Kouprovskaia-Denisova)/ Répertoire / Saxophone Alto et Piano