Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799613 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 17 pages. Nicole Elyse DiPaolo #5022029. Published by Nicole Elyse DiPaolo (A0.799613). The first of its kind, and the sixth entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of Grossmächtige Prinzessin, Zerbinetta's famous aria from Strauss's Ariadne auf Naxos (second version, 1916). Coloratura sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and sometimes unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury.This aria is also available to purchase in smaller sections, as commonly offered in auditions, at reduced prices. They include a score beginning at Noch glaub' ich and one beginning at So war es mit Pagliazzo. To see previews of those sections within the aria, please visit their respective SheetMusicPlus pages. The edition you are viewing here is the complete aria, covering rehearsal nos. 100-130.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or fudged with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a sink or swim accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .

Soprano voice,Vocal Solo - Digital Download SKU: A0.799614 Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 12 pages. Nicole Elyse DiPaolo #5022031. Published by Nicole Elyse DiPaolo (A0.799614). The first of its kind, and the sixth entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of Grossmächtige Prinzessin, Zerbinetta's famous aria from Strauss's Ariadne auf Naxos (second version, 1916). Please note that the version on this page is a cut beginning from Noch glaub' ich and the complete aria, from rehearsal nos. 100-130, is available separately. Coloratura sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and sometimes unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury.In addition to the current cut, one beginning at So war es mit Pagliazzo is also available. To see previews of those sections within the aria, please visit their respective SheetMusicPlus pages.All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or fudged with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a sink or swim accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .

Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799606 Composed by Ruggiero Leoncavallo. Arranged by Nicole Elyse DiPaolo. Romantic Period. 6 pages. Nicole Elyse DiPaolo #3420731. Published by Nicole Elyse DiPaolo (A0.799606). The first of its kind, and the seventh entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and slightly simplified piano/vocal reduction of Stridono lassù, Nedda's famous aria from Leoncavallo's Pagliacci. Sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic, poorly notated, and technically demanding vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury by trying to play the harp lines that nobody can hear anyway!All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or fudged with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a sink or swim accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .

Soprano voice,Vocal Solo - Level 5 - Digital Download SKU: A0.1185473 Composed by Maurice Ravel. Arranged by Nicole Elyse DiPaolo. Classical,Opera. 6 pages. Nicole Elyse DiPaolo #785149. Published by Nicole Elyse DiPaolo (A0.1185473). The first of its kind, this is a genuinely playable and slightly-to-moderately simplified piano/vocal reduction of Arrière! Je réchauffe les bons, the Fire Aria from Ravel's L'enfant et les sortilèges (1925)​. Sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the often chaotic vocal score, particularly if the murmuring section after the standard audition cut, which is very poorly rendered in the standard reduction, is also being included. Pianists may now enjoy playing this aria comfortably, without risking strain/injury or audition-room chaos.This Accessible Accompaniment is more generous than standard audition cuts, ending just before L'enfant re-enters with j'ai peur. It is 91 measures in total and ideal for recitals as well. All Accessible Accompaniments, including this one, boast several unique features:1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged� with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim� accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page. 3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. 5. When known, I’ve noted alternate cuts that singers might like to take within certain arias. 6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “ß� with “ss� in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity. I’ve also replaced some text “cresc.� and “dim.� markings with hairpins, which are easier to see in high-pressure sight-reading situations.About the Arranger:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .

Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1043765 Composed by Chris Hutchings. A Cappella,Christmas,Contemporary,Holiday,Sacred. 8 pages. Chris Hutchings #648448. Published by Chris Hutchings (A0.1043765). An original setting of Christina Rossetti's classic poem, this version of In The Bleak Midwinter is in 4/4 and has a completely new melody! Each verse has its own arrangement, and altos and basses get the melody in some of the verses. This has been performed by the Edinburgh Singers and Voces Inauditae, and appears on Harmonia Sacra's 2021 CD In Dulci Jubilo. It should be approachable for any choir who are comfortable singing in four independent parts.Ranges:soprano B3-G5alto G3-D5tenor D3-G4bass G2-D4 (with an optional low E, and an optional high E which is doubled by tenors).

C Instrument - Level 3 - Digital Download SKU: A0.1339974 By Jeff Bratz. By George Friedrich Handel, Felix Mendelssohn... Arranged by Jeff Bratz. A Cappella,Christmas,Holiday,Jazz,Traditional. Lead Sheet / Fake Book. 68 pages. HarmonyTabs Music #925637. Published by HarmonyTabs Music (A0.1339974). Dive into the festive spirit with the Second Edition of '11 Christmas Songs for SATB A Cappella.' This collection presents a harmonious blend of classic and timeless holiday melodies arranged for mixed voices. Featuring beloved tunes such as 'Angels We Have Heard On High,' 'Hark! The Herald Angels Sing,' and a tongue-in-cheek 'The Twelve-ish Days of Christmas,' this compilation invites both singers and audiences to experience the joy of the season.With carefully cultivated arrangements, including an abridged 'Hallelujah Chorus,' this edition offers a delightful mix of traditional carols and celebratory songs. Whether you're performing in a choir or simply seeking a cappella arrangements for seasonal gatherings, this collection promises to elevate your Christmas musical experience.Embrace the magic of the holidays with these beautifully crafted renditions that capture the essence of Christmas in every note.Song list: Angels We Have Heard On High, Auld Lang Syne, Away In a Manger, Deck The Halls, Go Tell It On The Mountain, God Rest Ye Merry, Gentlemen, Hallelujah Chorus (Abridged), Hark! The Herald Angels Sing, I Saw Three Ships, The First Noel, and The Twelve-ish Days of Christmas.

C Instrument - Level 3 - Digital Download SKU: A0.1361717 Composed by George Friedrich Handel, Felix Mendelssohn... Arranged by Jeff Bratz. A Cappella,Christmas,Holiday,Jazz,Traditional. Lead Sheet / Fake Book. 68 pages. HarmonyTabs Music #946167. Published by HarmonyTabs Music (A0.1361717). Dive into the festive spirit with the Second Edition of '11 Christmas Songs for SSAA A Cappella.' This collection presents a harmonious blend of classic and timeless holiday melodies arranged for mixed voices. Featuring beloved tunes such as 'Angels We Have Heard On High,' 'Hark! The Herald Angels Sing,' and a tongue-in-cheek 'The Twelve-ish Days of Christmas,' this compilation invites both singers and audiences to experience the joy of the season.With carefully cultivated arrangements, including an abridged 'Hallelujah Chorus,' this edition offers a delightful mix of traditional carols and celebratory songs. Whether you're performing in a choir or simply seeking a cappella arrangements for seasonal gatherings, this collection promises to elevate your Christmas musical experience.Embrace the magic of the holidays with these beautifully crafted renditions that capture the essence of Christmas in every note.Song list: Angels We Have Heard On High, Auld Lang Syne, Away In a Manger, Deck The Halls, Go Tell It On The Mountain, God Rest Ye Merry, Gentlemen, Hallelujah Chorus (Abridged), Hark! The Herald Angels Sing, I Saw Three Ships, The First Noel, and The Twelve-ish Days of Christmas.

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1283479 By Johann Sebastian Bach and Netherlands Bach Society. By Johann Sebastian Bach. Arranged by Flavio Regis Cunha. Baroque,Contest,Easter,Festival,Instructional,Sacred. Score and Parts. 51 pages. Flavio Regis Cunha #874665. Published by Flavio Regis Cunha (A0.1283479). Bach: Aria 'Mache dich, mein Herze, rein' for Bass Solo and Chamber Baroque Orchestra from the St Matthew Passion (BWV 244).Discover timeless music with the Bach classic - 'Mache dich, mein Herze, Rein'! Enjoy the intricate and vibrant performance of the piece from the renowned Netherlands Bach Society. Perfect for both professional orchestras and soloists – as well for the joy of schools performing the revered composer's masterpiece. Get the perfect accompaniment for your performance with the authentic sheet music available now!The aria 'Mache dich, mein Herze, rein' from the St Matthew Passion (BWV 244), performed here by the Netherlands Bach Society and conducted by Jos van Veldhoven for All of Bach. The St Matthew Passion tells the story of the last days of Jesus. He is betrayed, tried, crucified and buried. The lyrics were compiled by Picander (the pseudonym of Christian Friedrich Henrici), probably in close consultation with Bach himself. For their theme, they took the story as told by St Matthew the Evangelist. As different groups or people have their say, the singers get different roles – Christ, Judas, Peter, a slave girl, the pupils, the high priests, the people and the soldiers, etc. At key moments in the story, Bach and Picander added chorales and arias as a reflection of the biblical story. The action is suspended and the events are placed in the theological context of Bach’s day. The chorale lyrics and melodies come from the Lutheran hymn book, and were well known to the congregation in Leipzig. Even though Bach’s harmonies were new, everyone would have recognised the melody and the words. The lyrics for the opening and closing choruses and the arias were brand new, however. Both the arias and the chorales often link up seamlessly with the evangelical words. Advanced IntermediateFormat: Concert, 9 x 12 inches51 pagesProgram NotesMache dich, mein Herze, rein is a deeply poignant and emotional piece from the renowned work by Johann Sebastian Bach, St Matthew Passion (BWV 244). Written as a part of the 16th passion oratorio as a love song sung by Jesus to his disciples, this piece brilliantly conveys the struggle of redemption and longing for peace.Accompanied by a chamber baroque orchestra, the stark vocal line is delivered with an intense intricacy by the bass solo. Each note is carefully laden with sincere emotion, imbuing within the words a sense of longing and deep sorrow. As the piece progresses, the reprise of the chorus adds a layer of reflection to the message, driving home the power of the connection between Christ and his disciples.Mache dich, mein Herze, rein is a highly moving and truly remarkable piece of music that has rightly earned a place amongst Bach's most renowned works. Mache dich, mein Herze, rein is one of the most stunningly tender and moving chorales from Johann Sebastian Bach's monumental oratorio the St Matthew Passion (BWV 244). Originally written with a full choral accompaniment for the Easter Week Vespers of 1729, Bach's skilful reworking of the melody for bass and chamber baroque orchestra in the St Matthew Passion gives the solo voice a unique poignancy and fragility. The Lutheran chorale on which Bach based his composition speaks of hearts needing to be cleansed of sin and sorrow as they prepare to meet the Savior - an idea timeless in its poignancy and universality. Bach's arrangement is akin to a prayer of reflection and contemplation, the music's restrained dynamics and sighing counterpoint creating an atmosphere of resignation and acceptance. Mache dich, mein Herze, rein is a sublime masterpiece of sacred music, truly embodying the spirit of Easter.

Choral (Singer 5 Pak) SKU: HL.8739872 Composed by Betty Hager and Fred Bock. Fred Bock Publications. Children, Christmas, Christmas Sacred, Collection. Fred Bock Music Company #BG0875SP. Published by Fred Bock Music Company (HL.8739872). UPC: 073999727340. 7x10.5 inches. Betty Hager & Fred Bock.In 'God's Rainbow Promises of Christmas', seven children-shepherds are watching their sheep for their parents, who have gone into Bethlehem for the census and tax. During their tending, a light rain falls and a rainbow appears - only this rainbow is alive! Each color stands for a different promise God has extended to His people. The rainbow is especially beaming because it holds the secret that God's promised Son, Jesus the Messiah, is to be born this night. Available: Director's Edition, Singer's Edition, Accompaniment Track Cassette, Listening Cassette, Preview Pak (Singer's Edition and Listening Cassette), Posters, and Bulletins/50 pkg.

Concert Band - Level 2 - Digital Download SKU: A0.1393874 By Aztec Camera. By Roddy Frame. Arranged by John Ivor Holland. 20th Century,Film/TV,Pop,Rock,Singer/Songwriter. 44 pages. John Ivor Holland #977342. Published by John Ivor Holland (A0.1393874). Somewhere in My Heart is a song by Scottish band Aztec Camera. It was released as the third single from their third studio album, Love (1987). Released as a single in 1988, the track peaked at number three on the UK Singles Chart and became a top-40 hit in Australia and Ireland. Songwriter Roddy Frame said in 2014 that the song has been great for him, but at the time of creating the album, the song was not in keeping with the other songs. Around this time, Frame had become somewhat of a recluse, living in a remote wooden shack in Hollywood, Marple Bridge, in the hills above Manchester, going through periods of good and bad mental health, while continuing to write music, including the lyric from Westwood to Hollywood in the song. The distinctive saxophone sound is retained and towards the end is an opportunity for your star alto and tenor to solo or battle, to close out the song in the way that it is often performed live by Aztec Camera. The song is featured prominently in the 2019 film '47 Meters Down: Uncaged' and the 2020 Netflix series 'I Am Not Okay with This'.

SA chorus, Viola & Piano - Grade 3 - Digital Download SKU: IZ.VMW172 Composed by Martin J. Wimmer. Score. 23 pages. Imagine Music - Digital #VMW172. Published by Imagine Music - Digital (IZ.VMW172). 6.75 x 10.5 in inches.To a Fat Lady Seen from the Train is a cycle of four songs for women's choir, viola, and piano written by Martin J. Wimmer between 1991-2007. The original poem is a triolet written by English poet Frances Cornford (1886-1960). She was Charles Darwin's granddaughter. Wimmer set it to music in 1991 while studying songwriting at SUNY Purchase. Sixteen years later, he discovered the three subsequent poems, each written as a rebuke of the original. The collection is dedicated to composer/pianist Roland E. Martin and mezzo-soprano Denise Blackmore who premiered the original song in 1992. The complete song cycle was recorded by the Freudig Singers of Western New York in 2009 on their CD titled, The Phat Lady Sings produced by Mark Custom Recordings #7907 MCD.

Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1027467 Composed by Keane Southard. Contemporary. Octavo. 8 pages. Spindrift Pages #546435. Published by Spindrift Pages (A0.1027467). Do You Hear How Many You Are? for SATB choir was written in April and May of 2010. The origins of this piece and text come from a very interesting experience I had in December of 2009. I have been learning a lot in the past few years about the state of our world and the many huge problems and crises we are faced with in the near future, and this discovery has been so daunting and overwhelming to me. So much change needs to happen in order for the near and long-term future of our world to be just and stable that I have felt a lot of guilt over my choice of profession. Why have I chosen to be a composer and musician when I could make more of an impact on solving these problems if I were a scientist or policy maker etc.? I have been struggling to find a solution to this dilemma for a while now and I just happened to be thinking about it, while filled with lots of stress and worries, one night as I was falling asleep in December of 2009. At the moment when I was in that state halfway between sleep and consciousness, I suddenly heard the line Do you hear how many you are? in my head, yet I felt as though I didn't come up with the line but that it was said TO me. I was instantly comforted, as if a load fell off my shoulders, and then I began to hear it being sung, which I knew was the beginning of a choral piece. I woke up, wrote down the music I was hearing (about the first six measures of the work) and then wrote down this entire poem. I truly feel that this message came to me for a reason, and that I need to share it through the music I create. Those of us who want to change the world for the better are not alone; we are many and we will make our voices hear in order to heal the world. -Keane Southard Duration: c. 3 minutes -Winner, 2010 Ars Nova Singers Colorado Composers Competition (Professional Division) -1st Prize, Warren County Summer Music School's Promising Young Composers Competition, 2014 Premiered June 3, 2011 in Boulder, CO by the Ars Nova Singers, Thomas Morgan-conductor PROJECT : ENCOREâ„¢ has found this work to be of exceptional merit. Its panel of internationally known conductors has selected this work for inclusion in its catalog of recommended choral music. Website: keanesouthard.instantencore.com.

Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0014413 Composed by Cynthia Lauper. Arranged by Stephen Oremus. Musical. 12 pages. Alfred Music - Digital Sheet Music #00-PS-0014413. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0014413). ISBN 9780739098363. UPC: 038081462868.This colorful, 164-page souvenir songbook for the hit Broadway musical contains sheet music for every song on the show's original cast recording! Singers and pianists will delight in bringing the unforgettable songs from Cyndi Lauper's score to life with these impeccable piano/vocal arrangements. Several pages of dazzling color photos from the original Broadway production are included, making this book a must-own collectible for every fan of musical theatre. Titles: Price and Son Theme * The Most Beautiful Thing in the World * Take What You Got * Land of Lola * Charlie's Soliloquy * Step One * Sex Is in the Heel * The History of Wrong Guys * Not My Father's Son * Everybody Say Yeah * What a Woman Wants * In This Corner * Charlie's Soliloquy (Reprise) * Soul of a Man * Hold Me in Your Heart * Raise You Up / Just Be.

Piano Solo - Level 5 - Digital Download SKU: A0.1129326 By The Beatles. By Bobby Scott and Ric Marlow. Arranged by Timothy Stapay/Liberace. Broadway,Film/TV,Jazz,Musical/Show,Pop,Rock. Score. 4 pages. Timothy Stapay #729825. Published by Timothy Stapay (A0.1129326). A Taste Of Honey is arranged as performed by piano artist, Liberace. For the first time; here is the Liberace version of this famous sixties classic song; arranged for piano solo! A Taste of Honey is a pop standard written by Bobby Scott and Ric Marlow. It was originally an instrumental track (or recurring theme) written for the 1960 Broadway version of the 1958 British play A Taste of Honey (which was also made into the film of the same name in 1961). Both the original and a later recording by Herb Alpert in 1965 earned the song four Grammy Awards. Barbra Streisand performed the song as part of her cabaret act during 1962, and recorded it in January 1963 for her debut album The Barbra Streisand Album, on Columbia, which won a Grammy for Album of the Year (1963). The Beatles performed Lenny Welch's adaptation as part of their repertoire in 1962, slightly changing the lyrics in the chorus. Because the instrumental version by Acker Bilk was popular in the United Kingdom at the time, the song was chosen to be recorded for their 1963 debut album, Please Please Me. A version from that time was released in 1977 on the album Live! at the Star-Club in Hamburg, Germany; 1962. In the US, this song first appeared on the Vee-Jay Records album Introducing... The Beatles. They also performed A Taste of Honey seven times for BBC radio shows.<.p> Władziu Valentino Liberace (May 16, 1919 – February 4, 1987) was an American pianist, singer, and actor. A child prodigy born in Wisconsin to parents of Italian and Polish origin, he enjoyed a career spanning four decades of concerts, recordings, television, motion pictures, and endorsements. At the height of his fame from the 1950s to 1970s, he was the highest-paid entertainer in the world