Les collections Folk Song pour piano de Hal Leonard sont un excellent moyen d\'inclure dans le répertoire de tout pianiste ce genre si singulier et propre à chaque culture. Chaque recueil contient 24 chansons arrangées pour des musiciens de niveau intermédiaire, avec des commentaires contextuels pour chaque chanson, ce qui en fait non seulement une grande collection mais également une belle introduction aux spécificités culturelles dont s\'inspire chaque recueil. / Partitions variété - pop - rock / Variété internationale / Piano / HAL LEONARD

Volume 5-This is the last and most advanced volume of the graduated series which includes works by composers of African descent that are hard to find or have never been published. This volume is for advanced performers and is a wonderful source of new and unusual repertoire.

Volume 3 Early Advanced-The third volume for early advanced pianists explores even more genres than the first two volumes such as elements of Tango and Haitian Merengue music. 'Cell Phone Blues' is derived from pop music and Jazz. This volume also includes spirituals and African folksongs. Performance notes and composer biographies are provided as well.

Thirty musical arrangements by noted African-American tenor recall biblical events in such well-known tunes as Deep River Dry Bones Steal Away and Were You There' Perceptively written introduction to each song includes background history. Rich collection will appeal to lovers of great spirituals and the rich legacy of African-American song.Reprint of My Songs: Aframerican Religious Folk Songs Arranged and Interpreted by Roland Hayes Little Brown and Company Boston 1948.

Kevin Volans' L'Africaine for Piano solo. Duration: 22 minutes. Composers Note: Most of the piano music I have written has focussed on a number of 20th century musical concerns: withcomplex rhythmic patterning a- and poly-tonality multiple layering of parts on occasion introducing different tone colours (like playing inside the instrument or electronic modulation) ' but above all resonance. The development of the piano in 19th century with its increased size pitch and dynamic range led above all to an instrument capable of rich and full resonance that could rival even an orchestra. All centred around thepedal ' in Anton Rubinstein's words: The soul of the piano. This time I thought it would be interesting to write a piece which pays no attention to this tradition; to write a piece from the point of view ofsome African compositional methods and ways of patterning ' mainly interlocking parts which result in shifting downbeats. For a large part of the piece I treat the left and right hands as two complementaryperformers.  So hardly any pedal no concerns with contemporary harmony style structure or technology. I did slip in a slightly concealed reference to Debussy's L'Isle Joyeuse however. The pieceis roughly 22 minutes long in three sections and the title is a slightly tongue-in-cheek reference to Couperin.