Here with Me

Here With Me was Dido's first single from her debut album which was released in 1999. Her ethereal sound is captured in this delicate choral arrangement for 2-part chorus with a full Piano accompaniment.

Here With Me was Dido's first single from her debut album which was released in 1999. Her ethereal sound is captured in this delicate choral arrangement for mixed voices with a full Piano accompaniment.

Here With Me du premier album de Dido No Angel, qui a été publié en 1999. Ses sons éthérés peuvent être recréés dans cette fiche chanson, qui est arrangé pour soprano, alto et voix basse avec un accompagnement au piano. / Voix Mixtes

Toutes les chansons du premier album de l'ex-choriste de Faithless. Inclus Here With Me, titre faisant partie des BO de la série Roswell et du film Bounce et Thank You, morceau ayant été samplé dans le tube d'Eminem Stan. / Variétés / Partition /

John Rutter's The Music's Always There With You for SATB (with divisions) and Piano or Chamber Ensemble.Rutter's charming piece sets a secular text by the composer that emphasises the significance of music and harmony in an ephemeral world. A simple accompaniment figure in the Piano provides the backdrop to alternating unison and polyphonic verses that manage to capture both nostalgia for what was and optimism for what is to come.

Par OASIS. Fully revised and expanded, this new edition of the best-selling Oasis Complete Chord Songbook has been updated to include all the material from their #1 2008 album Dig Out Your Soul , plus b-sides, bonus tracks and songs drawn from special editions, digital-only releases, compilations and cover versions - a whopping 132 songs in total. Every single Oasis song since their debut single Supersonic is included here with chord symbols, Guitar chord boxes and complete lyrics. This new edition includes a fully-revised UK discography and exclusive photo section. / Niveau : Assez Facile / Rép International / Recueil / Chant et Guitare

High Voice in E-flat Major-Arranged for high voice in E flat. Malotte's choral work The Lord's Prayer is presented here with a freshly engraved score and a companion CD. The score contains two versions of the song in the designated key: voice withpiano accompaniment and voice with organ accompaniment. The CD features the orchestral accompaniment as well as a full performance with a professional singer. Also included is the history of Malotte's song and its publication.

This contemporary musical treasure is from the Home Alone movies we all adore and have enjoyed throughout the recent years. John Williams' famous music is set here with a simpler orchestration capturing the innocence and magic of childhood at Christmas with gentle vocal writing surprising musical turns building to home and ending in harmonic wonder.

This contemporary musical treasure is from the Home Alone movies we all adore and have enjoyed throughout the recent years. John Williams' famous music is set here with a simpler orchestration capturing the innocence and magic of childhood at Christmas with gentle vocal writing surprising musical turns building to home and ending in harmonic wonder.

Lady Gaga Adele Alicia Keys etc.-Learn to play the original Piano parts to eight great songs by Lady GaGa Adele Alicia Keys and more. The Play Piano With... series puts you right there with these amazing singers also lettingyou sing along with the CD backing tracks.The Music BookFeatures authentic and accurate transcriptions of eight fantastic pop tunes by these excellent performers. Each tune in the book includes melodyline chord symbols chord boxes and full lyrics. With some of the biggest hits of the past few years including Adele's Make You Feel My Love Beyoncé's Halo and Alicia Keys' Empire State Of Mind Part II this edition of Play Piano With...?gives you a great selection of pop tunes that are just perfect for the Piano.? Not only these tracks but others by some of the best performersof today are included such as Speechless by Lady GaGa Just The Way You Are by Bruno Mars and Pixie Lott's Cry Me Out.?Each of these songs is loved by nearly everyone so they will be ideal forimpressing your friends and family with a performance. The Piano parts have been transcribed exactly as GaGa Adele or Alicia Keys plays them so you know you're getting the real thing.The CDWith full?soundalike? instrumental demonstration tracks as well as tracks with the Piano removed you are able to take the place of these pop pianists with your very own backing band. These backing and demonstration tracks areprofessionally recorded so that you can play along to them in the best quality so it sounds simply as authentic as possible. Check out the Soundcloud preview player below that lets you see for yourself how great the accompanyingbacking tracks sound.? These authentic and accurate transcriptions let you Play Piano With Lady GaGa Adele and Alicia Keys among many others with full backing tracks on the bundled

Instrumentation: piano Edition: score Publisher: Eberhard Mayer OEuvres pour piano/Klaviermusik/Piano Music Edition en 10 recueils/Edition in 10 Bänden/Edition in 10 volumes Volume 1: Femmes de Légende Editor: Eberhard Mayer Item no.: fue 4180 Difficulty: medium ISMN: 979-0-50012-918-9 Contents: Mélisande, Desdémona, Ophelie, Viviane, Phœbé, Omphale und Salomé The pieces for piano represent a great stylistic variety. One gets the impression that Mel Bonis may have intended to give a summary of musical development, not quoting historic styles but adapting the past through her personal tone and to translate it into contemporary musical language. The first volume includes an original series of musical portraits dedicated to legendary women, where Mel Bonis explores the enigmatic feminine universe. „Femmes de légende“ A collection we have called “Femmes de légende” contains seven piano pieces by Mel Bonis named after women whose fates have become legendary. They have not always been arranged in this way. The first piece, “Mélisande”, was published separately by Alphonse Leduc in 1898. In 1909, a collection called “Trois pièces pour piano” (Three pieces for the piano), dedicated to the composer Paul Locard and which included “Phœbé”, “Viviane” and “Salomé”, was published by Leduc. In 1913, “Mélisande” was added to the four last pieces for a final collection called “Cinq pièces”. “Omphale” appeared in a Berlin edition “Signale für die musikalische Welt” in 1910. As to “Ophélie”, it was never published in Mel Bonis’ lifetime and we discovered a manu-script in 1997 without any indication at all of when it was writ-ten. “Ophélie” was first published by the publishing house Ar-miane in Versailles in 1998. Mélisande (1898) Written before Debussy’s famous opera, Mel Bonis’ piano piece “Mélisande” was also inspired by the poet Maeterlinck (Mélisande, 1893). These short pages of magical harmonies, of radi-ant impressionist colours use music to describe Mélisande’s hair as described by Pelleas: “your hair and its beautiful light... It escapes everywhere, it shivers, it shakes, it trembles in my hand like a golden bird.” This piece enjoyed quite a success in Mel Bonis’ lifetime. She noted of it “my favourite” in the margin of her hand-written catalogue. Desdémona (1913) The female heroine in Shakespeare’s “Othello” inspired Mel Bonis to write a nostalgic piece with a fairly easy, rather classical beginning, a kind of romance without words, of great elegance and of a deep and melancholic beauty. Ophélie Ophelia, the lover of Shakespeare’s Hamlet, is a deeply melan-cholic character who goes mad and drowns in mysterious cir-cumstances. Ophelia inspired the poet Rimbaud and the painter Millais – each of them created a masterpiece. Mel Bonis too evokes images of water, sadness and death in music for a third work of art. With its delicate and chilling beauty and also with its moments of passion, this impressionist piece - the work which owes most to Debussy - calls for great intelligence when performed. Viviane (1909) The figure of the fairy of the lake is musically described here in a well-structured, many-facetted piece; first of all, the initial dancing theme has an air of the “salon” about it, typical of its time, evoking the fairy’s charm, her smile. Then follow succes-sions of majestic chords and fluent harmonies which represent the underwater castle and the fairy’s power. This piece is easily approachable. Phœbé (1909) The sister of Phoebus, the sun, symbolises the moon, the night, chastity. The piece creates an impression of night. Steeped in twilight, languor and a sense of immense space, the atmosphere is one of unreality. This feeling of alienation is reinforced by the incoherence of rhythm between the two hands. Salomé (1909) Inspired by the Orient, Mel Bonis creates a very original musical illustration of the biblical character of Salome. She is characterised by shifting moods in which slow syncopes follow light glissandos, and urgent, mysterious psalmodies accompany sensual melopeias, where surprising tempo varia-tions lead to outbreaks of violence. With its relatively difficult beginning, this piece is especially interesting from the viewpoint of research into interpretation. Omphale (1910) The queen of Lydia is a female character from the violent depths of Greek mythology. This powerful female is described here with glittering sensuality and Oriental subtlety. The impressive work shows a complex structure both in harmony and rhythm, it is a lively and rich work which calls for much thought and great virtuosity on the performer’s part. “Omphale” was awarded a prize for composition by the Berlin magazine “Signale für die musikalische Welt” in 1910.

These sonatas are among the epoch-making works of the Violin repertoire and nowadays figure in the standard repertoire of every violinist. It is all the more surprising therefore that until now there has been no Urtext edition of such significant works. The score is based on a first edition supervised by Corelli himself. From what we know of performance practice in Corelli’s time however more was expected of the violinist than just a musical reading of the printed score: it was customary to add ornamentation verging on improvisation with embellishment and 'variations as desired'. The original score is therefore presented here withthe earliest documented ornamentation from a reprint published by Roger in Amsterdam in 1708. This ornamentation is not meant to be slavishly imitated but to stimulate the player to find their own creative and stylistically confident interpretation of the score. As Roger did not specify any ornaments for the sonatas in the second volume the 'variations as desired' used by Corelli’s pupil Geminiani have been reproduced with the ninth Sonata as an example. Advice on performance is given by the Cologne baroque specialist Reinhard Goebel. This advice does not only apply to ornamentation but also to articulation bowings and more besides calling for specific markings in the separate Violin part. The realisation of the Continuo part echoes the fashions of that time. Here too advice on performance is meant to stimulate free interpretation by the continuo player. A figured Bass part is included for the player who prefers to read the accompaniment from figures.

These sonatas are among the epoch-making works of the violin repertoire and nowadays figure in the standard repertoire of every violinist. It is all the more surprising, therefore, that until now there has been no Urtext edition of such significant works. The score is based on a first edition supervised by Corelli himself. From what we know of performance practice in Corelli’s time, however, more was expected of the violinist than just a musical reading of the printed score: it was customary to add ornamentation verging on improvisation, with embellishment and variations as desired. The original score is therefore presented here with the earliest documented ornamentation from a reprint published by Roger in Amsterdam in 1708. This ornamentation is not meant to be slavishly imitated, but to stimulate the player to find their own creative and stylistically confident interpretation of the score. As Roger did not specify any ornaments for the sonatas in the second volume, the variations as desired used by Corelli’s pupil Geminiani have been reproduced with the ninth Sonata as an example. Advice on performance is given by the Cologne baroque specialist Reinhard Goebel. This advice does not only apply to ornamentation, but also to articulation, bowings and more besides, calling for specific markings in the separate violin part. The realisation of the continuo part echoes the fashions of that time. Here too, advice on performance is meant to stimulate free interpretation by the continuo player. A figured bass part is included for the player who prefers to read the accompaniment from figures. Content : Sonate D-Dur op. 5,1 Sonate B-Dur op. 5,2 Sonate C-Dur op. 5,3 Sonate F-Dur op. 5,4 Sonate g-Moll op. 5,5 Sonate A-Dur op. 5,6