Nice Work If You Can Get It: Vocal and Piano: Vocal Collection

A collosal 42-song album featuring some of Tony Bennett's greatest hits arranged for voice and piano with chords. A Foggy Day (In London Town); A Time For Love; Because Of You; Blue Velvet; Call Me Irresponsible; Cold, Cold Heart; Firefly; Fly Me To The Moon; He Loves And She Loves; How Do You Keep The Music Playing?; I Got Rhythm; I Guess I?ll Have To Change My Plan; I Left My Heart In San Francisco; I Wanna Be Around; I Wish I Were In Love Again; I?ll Be Seeing You; I?ve Got The World On A String; If I Ruled The World; It Amazes Me; It Don?t Mean A Thing; Just In Time; Lost In The Stars; My Love Went To London; Nice Work If You Can Get It; Old Devil Moon; Once Upon A Time; People; Rags To Riches; Shine On Your Shoes; Steppin? Out With My Baby; The Best Is Yet To Come; The Boulevard Of Broken Dreams; The Good Life; The Shadow Of Your Smile; They All Laughed; They Can?t Take That Away From Me; This Is All I Ask; This Time The Dream?s On Me; Time After Time; When Joanna Loved Me; You Go To My Head; You?re All The World To Me.

An incredible collection of 88 of the greatest jazz songs ever compiled into one volume. A Day In The Life Of A Fool (Manha De Carnaval) - A Foggy Day - A Sunday Kind Of Love - After You've Gone - Ain't Misbehavin' - All Of Me - All The Things You Are - Angel Eyes - Bernie's Tune - Birdland - Bluesette - Body And Soul - But Not For Me - Come Rain Or Come Shine - Cry Me A River - Do Nothin' Till You Hear From Me - Don't Get Around Much Anymore - Early Autumn - Fever - Fly Me To The Moon (In Other Words) - From This Moment On - Give Me The Simple Life - God Bless' The Child - Gone With The Wind - Guess Who I Saw Today - Here's That Rainy Day - Honeysuckle Rose - How High The Moon - How Insensitive (Insensatez) - I Loves You Porgy - I'll Remember April - I've Got You Under My Skin - In The Still Of The Night - Indiana (Back Home Again In Indiana) - It's All Right With Me - Just In Time - Just One Of Those Things - Let There Be Love - Limehouse Blues - Little Girl Blue - Long Ago (And Far Away) - Love For Sale - Lover, Come Back To Me - Lullaby Of The Leaves - Manhattan - Meditation (Meditacáo) - Mercy, Mercy, Mercy - Midnight Sun - Misty - Moonlight In Vermont - More Than You Know - My Funny Valentine - My Romance - My Ship - Nice Work If You Can Get It - Night And Day - Ol' Man River - Old Devil Moon - One Mint Julep - One Note Samba (Samba De Uma Nota So) - Polka Dots And Moonbeams - Quiet Nights Of Quiet Stars (Corcovado) - Satin Doll - Skylark - Slightly Out Of Tune (Desafinado) - Smoke Gets In Your Eyes - So Nice (Summer Samba) - Some Day My Prince Will Come - Speak Low - Spring Can Really Hang You Up The Most - Stompin' At The Savoy - Stormy Weather (Keeps Rainin' All The Time) - Summertime - Sweet Georgia Brown - That's Life - The Girl From Ipanema (Garota De Ipanema) - The Lady Is A Tramp - The Things We Did Last Summer - There's A Small Hotel - They Can't Take That Away From Me - Time After Time - Watch What Happens - What A Diff'rence A Day Made - What Is This Thing Called Love? - When I Fall In Love - Will You Still Be Mine - Willow Weep For Me - You'd Be So Nice To Come Home To Collection : Definitive Jazz collection

100 ans de musique populaire chronique la plus grande musique du siècle dernier. Ce livre contient plus de 70 chansons des années 1930 arrangé pour piano, voix et guitare, fournissant un aperçu fascinant de la musique de l'époque. Une liste des nouvelles inventions d'abord vu durant les années 1930 est également incluse./ Recueil / Piano, Chant et Guitare

Psalm 148 and 150-An exciting work for men's chorus that will make a great concert opener. In 7/8 time this work will give a nice but achievable challenge to your men's chorus. A good selection for honor choirs and festivals.

The ?Gloria? RV 589 is one of Vivaldi?s most popular compositions today and one of the most regularly performed sacred vocal works from the Baroque era. The work was in all probability composed around 1716 during Vivaldi?s time at the Ospedale della Piet an orphanage for girls in Venice. Although Vivaldi?s ?Gloria? (BA 8953) was written for solo voices and mixed choir it is likely that it was performed at the girls? orphanage with female voices only. Taking this into account Malcolm Bruno?s careful arrangement for choir SSAA is of some relevance. The work when set for female voices or children?s choir remains a true masterpiece.The ?Kyrie? RV 587 (BA8954)for two choirs and two string ensembles as arranged here for female choir displays its own charm. It can be performed together with the Gloria as a type of short mass.Both arrangements are based on the recently published Urtext editions of these works. The piano reductions by editor Malcolm Bruno are easy to play and preserve the character of the works.Effective arrangements for female choirForewords in English and GermanStraightforward idiomatic piano reductionsKyrie and Gloria can be combined for performanceThe orchestral parts for the original SATB version can be used for the performance of these arrangements.

A cura di F. Della Seta - Riduzione per canto e pianoforte-Ricordi the well-known printer of classical opera presents the works of the great opera composers in its Critical Edition practical series. These revised definitive scores are produced by using all the currently available sources ranging from the original autographs to printed editions in line with strict philological and critical criteria. Each edition has a brief introduction providing the historical context for the opera in question. This series combines the rigour of a critical approach and a practical easy-to-follow editorial lay-out. The hidden sadness and frustration of living as a moral outcast the attempt to simulate innocence infrivolous living and the desperate search for relief from pain and anguish the destruction of all hope in an unrealistic love affair... this is Violetta Valery. Verdi penetrated the tormented sensitivity of her soul as he visualized her in his music transforming her individual fate into a universal representation of human suffering. His compassion for her however met with bigoted censure: the bourgeois public scandalized by the presence of a kept woman as a character on the stage gave the opera an icy reception at its premiere in Venice (Teatro La Fenice 6 March 183). Certainly an inferior cast for the occasion did little to help. Only the following year when La Traviata was revived for another production in Venice (Teatro San Benedetto) did the tale of Violetta manage to overcome this prejudice and win the unconditional esteem it so deserves.