1-4-3 I Love You

La collection s agrandit et vous propose une selection de8 grands thèmes de la musique classique. Le principe reste inchangé, des adaptation 4 mains niveaux 3 à 5 ans de piano avec sur le CD les parties séparées enregistrées de façon à pouvoir répéter seul sa partie avant de jouer en duo. / Piano 4 Mains / Partition

These pieces have been composed especially for children of Grade 1-3 standard. All are written in a variety of simple keys and hand positions and most have the tune in both parts so there should be no arguments on the piano stool as to who plays what! The accompanying CD enables the pianists to hear and play along with their own part as well as playing along with the other part on the CD. This will prove invaluable to students practising at home as they will not require a duet partner every time.

This superb collection of 19 Christmas Piano duets for grades 1-3 includes a mixture of popular Christmas songs and traditional carols making it truly The Best Christmas Piano Duet Book Ever! All songs arearranged by Emma Coulthard. The interplay of the four hands involved in these Christmas tunes creates a rich and enjoyably powerful sound perfect for any form of Christmas concert or just for a rousingsingalong on Christmas Eve. The Christmas classics included here range from the traditionals like Away In A Manger or Jingle Bells to everybody's favourite contemporary songs like Stop The Cavalry Wonderful Christmastime and Jingle Bell Rock. Because these are relatively simplified arrangements even those beginner pianists can select something to play together and impress theiraudience. This Christmas sheet music for Piano duet is perfect for getting into that Yuletide spirit because it brings people together and unites them through the familiarly festive tunes that we all knowand love. A Christmas songbook like this covers all of the songs that are beloved by musicians of all ages and all tastes; the timeless seasonal songs that will sound brilliant when played by four hands onPiano.  For a festive treat this Christmas why not bring together two pianists at around grades 1-3 and have them double the dealing of Yuletide spirit with The Best Christmas Piano Duet BookEver! 

This beloved ballad from Brigadoon is Broadway at its best! Expressive harmonies over a lush piano accompaniment make this a perfect setting for concert groups. Available separately: SATB SAB SSA ShowTrax CD. Instrumental partsavailable digitally (ob syn perc 1-2). Duration: ca. 4:20.

King Henry VIII: 6 Pieces for Recorder Trio (SAT) edited by Carl Dolmetsch.   1. Fantasie   2. Pastime with Good Company   3. Fantasie   4. Without discord and both accord   5. Fantasie   6. If love now reigned

Celine Dion's powerhouse love theme from the blockbuster movie Titanic says it all! This is a terrific SSA arrangement of James Horner's moving ballad by Alan Billingsley also available: SATB SAB 2-Part ShowTrax CD. Performance Time: Approx. 4:30.

Since audiences love to hear four hands at one Piano FJH has compiled their best-selling duet series under one cover. Most of the pieces in this collection are original compositions encompassing levels from elementary to late intermediate.Ensemble playing improves skills such as balancing dynamics listening for precision keeping a steady beat and having fun at the Piano. This series provides great choices for performance opportunities.

Par QUEEN. Phillip Keveren, artiste claviériste et compositeur aux multiples talents, a réalisé des ?uvres originales dans une grande variété de genres, du piano solo à l'orchestre symphonique. Ses arrangements habiles de chansons pop, d'airs religieux, de morceaux de Broadway et de films, ainsi que de standards de la musique classique et du jazz, ont fait le bonheur de millions d'élèves et de professeurs de piano. En plus des centaines de recueils qu'il a publiés dans sa collection Philip Keveren, il a maintenant adapté en duos pour piano 8 superbes chansons de l'un des plus grands groupes du monde ! Ces arrangements conviennent aux musiciens de niveau intermédiaire à avancé. / Date parution : 2023-03-20/ Recueil / Piano 4 Mains

A second book of entertaining and enjoyable Piano Duets by the talented Philip Cunningham. All presented and graded in order of difficulty to provide an ongoing challenge and development. These six stylistically diverse pieces compliment completion of the first collection and are ideally suited to students working at Grades 3 - 5 following on smoothly from Book 1. This book also includes a backing CD enabling solo practice of the duets so now you don't need a duet partner everytime!

Despite having already assumed the costs for a monument to Beethoven in Bonn Liszt's spiritual affinity for Beethoven also moved this greatest piano virtuoso of the nineteenth century to pay an even finer tribute: a superlative set of piano transcriptions of the master's nine symphonies. Liszt's brilliant and sensitive transcriptions enabled 19th century audiences and amateur pianists to become acquainted with Beethoven's works even when no orchestras were available. Indeed the great pianist's capacity for translating orchestral effects into pianistic terms was nothing short of astonishing. This volume contains the first five of the nine works reproduced from the originalplates authorised by Liszt himself. A memorable tribute from one musical genius to another these compositions will delight pianists and music lovers alike.

Volume 4-As a famous contributor to classical Organ music César Franck's (1822-1890) catalogue is extensive. Moreover being an organist himself his Organ works are significant and remain ever-popular to this day. When French organist Marcel Dupré (1886-1971) compiled the series of Franck's Organ Works it was well-received and to this day remains popular with all organists. The fourth volume includes a favoured selection of Franck's works including three of his chorales. In addition Dupré's annotations in Organ Works comprise fingerings rules on technique andinstructions on ornamentation amongst other aspects. This compilation of Franck's most loved compositions for the Organ cannot be missed by aspiring performers of the instrument.

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

The piano collection contains a wealth of wonderful pieces: 50 of the finest classical piano pieces written by 22 composers from the Baroque, Classical, Romantic and Modern eras. These perennial favourites, which are all of medium difficulty, are ideally suited for advanced pupils, students, adults returning to the instrument, and all lovers of great piano music. This is a 'treasure trove' for piano tuition and recreational music-making.

This album represents astonishing value for money! / Partition /