Parfois je ne sais pas ce qui m’arrive
Je noie la poésie dans l’alcool
Je ne sais pas lequel des deux m’enivre
Et pour finir je parle de footballEt lorsque j’en ai marre
Je gratte ma guitare
Lorsque j’en ai marre
Je gratte ma guitareChaque matin j’avale un café crème
En lisant des journaux remplis de sang
Mais le regard d’un enfant me ramène
Dans un monde meilleur et innocentLorsque j’en ai marre
Je gratte ma guitare
Lorsque j’en ai marre
Je gratte ma guitareJe parle du tiercé avec ma femme
Un jour on finira par le toucher
Ensemble on rêve et ça réchauffe l’âme
De rêver du jour où tout va changerLorsque j’en ai marre
Je gratte ma guitare
Lorsque j’en ai marre
Je gratte ma guitareLe samedi on boit quelques bouteilles
Ça fait passer l’amertume et le temps
Tant pis si le dimanche on se réveille
Avec les mêmes problèmes qu’avantLorsque j’en ai marre
Je gratte ma guitare
Lorsque j’en ai marre
Je gratte ma guitareParfois lorsque mon esprit vagabonde
J’essaie de croire qu’il y a un bon Dieu
Je lui dis pourquoi as-tu fais le monde
Si c’est pour le défaire peu à peuEt lorsque j’en ai marre
Je gratte ma guitare.
Download Schumann’s sheet music from our Library.
King Crimson: Download this sheet music and many more from our Library.
King Crimson are an English progressive rock band formed in London in 1968. King Crimson have been influential both on the early 1970s progressive rock movement and many contemporary artists.
Although the band has undergone numerous formations throughout its history, Robert Fripp is the only constant member of the group and is considered the band’s leader and driving force.
The band has earned a large cult following. They were ranked No. 87 on VH1‘s 100 Greatest Artists of Hard Rock.Although considered to be a seminal progressive rock band (a genre characterised by extended instrumental sections and complex song structures), they have often distanced themselves from the genre: as well as influencing several generations of progressive and psychedelic rock bands, they have also been an influence on subsequent alternative metal, hardcore and experimental/noise musicians.
Developed from the unsuccessful psychedelic pop trio Giles, Giles and Fripp, the initial King Crimson were key to the formation of early progressive rock, strongly influencing and altering the music of contemporaries such as Yes and Genesis. Their debut album, In the Court of the Crimson King (1969), remains their most successful and influential release, with its elements of jazz, classical and experimental music. Their success increased following an opening act performance for the Rolling Stones at Hyde Park, London, in 1969.
Following In the Wake of Poseidon (1970) and the less successful chamber jazz-inspired Lizard (1970), and Islands (1971), the group reformatted and changed their instrumentation (swapping out saxophone in favour of violin and unusual percussion) in order to develop their own take on European rock improvisation, reaching a new creative peak on Larks’ Tongues in Aspic (1973), Starless and Bible Black (1974) and Red (1974). Fripp disbanded the group in 1974.
In 1981, King Crimson reformed with another change in musical direction and instrumentation (incorporating, for the first time, a mixture of British and American personnel plus doubled guitar and influences taken from gamelan, post-punk and New York minimalism). This lasted for three years, resulting in the trio of albums Discipline (1981), Beat (1982) and Three of a Perfect Pair (1984).
Following a decade-long hiatus, Fripp revived the group as an expanded “Double Trio” sextet in 1994, mingling its mid-‘70s and 1980s approaches with new creative options available via MIDI technology. This resulted in another three-year cycle of activity including the release of Thrak (1995). King Crimson reunited again in 2000 as a more alternative metal-oriented quartet (or “Double Duo”), releasing The Construkction of Light in 2000 and The Power to Believe in 2003: after further personnel shuffles, the band expanded to a double-drummer quintet for a 2008 tour celebrating their 40th anniversary.
Following another hiatus between 2009 and 2012, King Crimson reformed once again in 2013; this time as a septet (and, later, octet) with an unusual three-drumkit frontline and the return of saxophone/flute to the lineup for the first time since 1972. This current version of King Crimson has continued to tour and to release live albums, significantly rearranging and reinterpreting music from across the band’s career.
Since 1997, several musicians have pursued aspects of the band’s work and approaches through a series of related bands collectively referred to as ProjeKcts.
When I See An Elephant Fly (Disney) Piano arrangement by Jim Brickman
When I See An Elephant Fly (Disney) Piano arrangement by Jim Brickman with sheet music TO DOWNLOAD from our Library.
Jim Brickman (born November 20, 1961) is an American songwriter and pianist of pop music, as well as a radio show host. Brickman has earned six Gold and Platinum albums. He is known for his solo piano compositions, pop-style instrumentals, and vocal collaborations with artists such as Lady Antebellum, Johnny Mathis, Michael W. Smith, Martina McBride, Megan Hilty, Donny Osmond, Delta Goodrem, Olivia Newton-John, and many others. He has earned two Grammy nominations for his albums Peace (2003) for Best Instrumental, and Faith (2009) for Best New Age Album; an SESAC “Songwriter of the Year” award; a Canadian Country Music Award for Best Vocal/Instrumental Collaboration; and a Dove Award presented by the Gospel Music Association.
Since 1997, he has hosted his own radio show, “The Jim Brickman Show”, which is carried on radio stations throughout the United States.Brickman has also released five PBS specials, and hosts an annual fan cruise or bash. He is founder of Brickhouse Direct, a company that provides strategic marketing and e-commerce solutions for clients in a variety of industries.
Jim’s career has spanned over 25 years.
He has transformed the popularity of solo piano playing his original, pop-style instrumentals and inviting star-studded vocal collaborators to join in. He has since become the most charted Adult Contemporary artist and best selling solo pianist to date.
Instead of listing every album over Jim’s entire career we’ll just start here.
From the founding of The Walt Disney Company in 1923, music has been key to the success of the organization. Both public-domain and original music were used for the initial cartoons, but, since neither Walt Disney nor Roy O. Disney had any music industry experience, the studio had to rely on outside music publishers.In 1928, Walt Disney released the first Mickey Mouse motion picture, Steamboat Willie, which became the first animated short-subject film with sound. Two other unreleased Mickey Mouse shorts has been previously-produced and were subsequently given soundtracks prior to their eventual premieres. In 1929, Walt Disney and Carl Stalling wrote “Minnie’s Yoo-Hoo”, the first song from the Walt Disney Studios, for Mickey’s Follies. On December 16, 1929, the Disney Film Recording Company, Limited was incorporated as a subsidiary of Walt Disney Productions.
Saul Bourne at Irving Berlin Music approached the studio after seeing Three Little Pigs with interest in the publishing rights for its theme song, “Who’s Afraid of the Big Bad Wolf?“. With Disney partnering with Bourne and Berlin, this partnership led to the song being recorded twice by the Don Bestor Orchestra (released by Victor Records) and Bill Scotti Orchestra (released by Bluebird Records). The song was a hit and a Depression era anthem.
Walt Disney Productions then began licensing out its music with the record company either selecting its own or Disney’s talent to record the music. Until 1936, no one had issued an actual song track recording on disc. RCA‘s HMV label released a selection of Disney short film music in England with the US release a year later. The Snow White and the Seven Dwarfs soundtrack album released by Victor was the first feature film soundtrack. Disney had sold its rights to the Snow White music to Bourne Co. Music as they needed more funds to complete the film.
In 1938, Fantasound—the first Surround sound system—was designed and tested by Walt Disney Productions for the release of Fantasia. In 1943, Academy of Motion Picture Arts and Sciences nominated Walt Disney Productions for two Academy Award categories in recognition of Bambi; Music, Scoring of a Dramatic or Comedy Picture and Music, Best Song for its song, “Love is a Song”.
In addition to Snow White and the Seven Dwarfs, Disney also sold the music publishing rights to Pinocchio and Dumbo to Bourne. To date, all attempts to reacquire the music rights to the three films had failed. After Bambi, the effects of World War II reduced the production of new feature length animation, with Disney either making feature length live films with some animation or themed short film into anthology films like Make Mine Music. The latter films contain the bulk of the more commercial music which was done by recording stars thus released by their record company.
In April 1947, the Walt Disney Music Company (WDMC) was incorporated, with Fred Raphael putting the company together in late 1949 to publish and license songs from Cinderella. Cinderella records appeared in stores along with other merchandise in 1949 before the 1950 release of the movie. The original RCA 78 RPM multi-disc-album release was number 1 on the Billboard magazine pop charts and as a result, Disney Music was moving rapidly into the Big Business category. While WDMC did not produce the records, Raphael did handle the selection, performance and recording.
James Alexander “Jimmy” Johnson, Jr., a fired Disney publicity staff member who wanted to stay at Disney, moved through a series of jobs there in the traffic department, and then accounting. After a stint in the military, he became assistant to the corporate secretary, then handled merchandising issues among other additional duties. With Roy Disney’s split of the merchandising division from Walt Disney Productions, Johnson became head of the merchandising division’s publication department in 1950 and took on managing business affairs for the Walt Disney Music Company.
Raphael took the WDMC into creating original non-film music. WDMC had several successful songs outside of the films, including Mule Train by Frankie Laine, “Would I Love You (Love You, Love You)” by Patti Page and “Shrimp Boats” by Jo Stafford, however for every non-film hit there were a score more that flopped. While Alice in Wonderland was a first run failure, its songs became evergreen for the music company with multiple stars performing the music. Raphael moved his office off lot to Hollywood and opened a WDMC in New York.
Walt Disney Productions formed the Wonderland Music Company in 1951.
Disney’s next push into music came from The Mickey Mouse Club as eight 6-inch 78 RPM records for the show hit shelves the week it premiered on television. Normal 7-inch 45 RPM versions were cut and released later, both through manufacturing partners of the Walt Disney Music Company. After a year, Golden Records and Am-Par Records turned over production of the show’s music back to Disney, leading to the creation of the Disneyland Records label in 1956.
Connaissez-vous la différence entre l’Orchestre national de France et Orchestre philharmonique de Radio France ? Entre l’Orchestre symphonique allemand ou l’orchestre philharmonique de Berlin ? Contrairement à l’idée reçue, ce n’est pas (forcément) la taille qui compte…
Lorsque l’on parle d’un orchestre philharmonique, on pense en premier lieu à un grand orchestre symphonique (avec ou sans chœur) qui interprète les œuvres du répertoire romantique, post-romantique et moderne. Mais en réalité, si différence il y a, il faut regarder du côté historique.
Quels sont les différents types d’orchestre ?
Il existe diverses façons de nommer un orchestre : baroque, de chambre, harmonique, symphonique et philharmonique. Le baroque se distingue des deux autres par les instruments et le répertoire joués qui correspondent à une certaine période de l’histoire de la musique. L’orchestre de chambre diffère des autres formations par son nombre restreint d’instrumentistes. Quant à la distinction entre symphonique et philharmonique, les frontières semblent plus floue.
Un orchestre symphonique et un orchestre philharmonique sont tous deux composés de toutes les familles d’instruments : cordes, bois, cuivres et percussions. La formation dite classique de l’orchestre pour lequel Haydn ou Mozart écrivent est composée du quintette à cordes traditionnel (violon 1, violon 2, alto, violoncelle, contrebasse), des vents par deux (deux flûtes traversières, deux hautbois, deux clarinettes, deux bassons, deux cors et deux trompettes) et de timbales.
En 1830, Berlioz ajoute la harpe dans sa Symphonie Fantastique, le trombone passe de simples interventions à une véritable place dans l’orchestre. L’ensemble des cuivres tels que nous les connaissons vont venir s’ajouter, et les timbales ne sont plus les seules percussions présentes, les bois ne sont plus nécessairement par deux. L’effectif de l’orchestre ne fait que croître (parfois avec des ajouts de chœurs), et les pupitres de cordes doivent être augmentés en conséquence : c’est souvent cet effectif qui est qualifié de « philharmonique ».
La petite histoire de la philharmonie
Le mot philharmonie provient du grec –phile qui signifie aimer, ami, personne qui aime ; et harmonie qui signifie union, agrément, jonction, mais aussi musique dans une traduction plus récente. C’est pour cela que les salles de concert reprennent le terme de philharmonie, car en son sein, se réunissent les amoureux de la musique.
Si l’on conjugue toutes ces définitions, une philharmonie est donc un rassemblement de personnes qui aiment la musique. Ces réunions se font au sein de sociétés philharmoniques, une « association musicale d’amateurs ou de professionnels, destinée à donner des concerts » (Larousse). Les orchestres philharmoniques peuvent donc désigner un ensemble issu de cette tradition associative ou qui veut s’affilier à celle-ci. De façon plus pragmatique, il peut aussi s’agir d’une formation qui veut se démarquer d’un ensemble symphonique déjà présent.
Ces associations réunissent beaucoup d’adhérents dont des chanteurs. Ils peuvent jouer des répertoires qui réunissent les deux ensembles, souvent utilisés au XIXe et dans la première moitié du XXe siècle. Les orchestres philharmoniques sont associés à un répertoire plus moderne que l’orchestre symphonique qui renvoie à un répertoire classique jusqu’aux débuts du romantisme, lorsqu’il commence à s’étoffer.
Download Bill Evans’ sheet music and transcriptions from our Library.
Moon Beams is a 1962 album by jazz musician Bill Evans, and the first trio album recorded by Evans after the death of Scott LaFaro. With Chuck Israels on bass taking the place of LaFaro, Evans recorded several songs during these May and June 1962 sessions. Moon Beams contains a collection of ballads recorded during this period. The more uptempo tunes were put on How My Heart Sings!. In 2012, it was released a new remastered edition which includes three previously unreleased alternate takes.
Personnel: Bill Evans (p) Chuck Israels (b) Paul Motian (dr)
Released: Mid December 1962
Recorded: May 17, 1962 (#5,9) May 29, 1962 (#1, 8) June 2, 1962 (#2-4, 6-7) June 5, 1962 (#10-11)
Label: Riverside RLP-428
Producer: Orrin Keepnews
“Re: Person I Knew” (Bill Evans)
“Polka Dots and Moonbeams” (Johnny Burke, Jimmy Van Heusen)
“I Fall in Love Too Easily” (Sammy Cahn, Jule Styne)
“Stairway to the Stars” (Matty Malneck, Mitchell Parish)
“If You Could See Me Now” (Tadd Dameron)
“It Might as Well Be Spring” (Richard Rodgers, Oscar Hammerstein II)
“In Love in Vain” (Leo Robin, Jerome Kern)
“Very Early” (Bill Evans)
Writing for Allmusic, music critic Thom Jurek wrote of the album “…selections are so well paced and sequenced the record feels like a dream… Moonbeams was a startling return to the recording sphere and a major advancement in his development as a leader.”
Bill Evans, William John Evans (August 16, 1929 – September 15, 1980) was an American jazz pianist and composer who mostly played in trios. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, “singing” melodic lines continue to influence jazz pianists today. Born in Plainfield, New Jersey, in 1929, he was classically trained at Southeastern Louisiana University and the Mannes School of Music, where he majored in composition and received the Artist Diploma. In 1955, he moved to New York City, where he worked with bandleader and theorist George Russell. In 1958, Evans joined Miles Davis’s sextet, which in 1959, then immersed in modal jazz, recorded Kind of Blue, the best-selling jazz album of all time.
During that time, Evans was also playing with Chet Baker for the album Chet. In late 1959, Evans left the Miles Davis band and began his career as a leader, with bassist Scott LaFaro and drummer Paul Motian, a group now regarded as a seminal modern jazz trio. In 1961, ten days after finishing an engagement at the New York Village Vanguard jazz club, LaFaro died in a car accident. After months of seclusion, Evans re-emerged with a new trio, featuring bassist Chuck Israels. In 1963, Evans recorded Conversations with Myself, a solo album using the unconventional technique of overdubbing over himself. In 1966, he met bassist Eddie Gómez, with whom he would work for eleven years. Many of Evans’s compositions, such as “Waltz for Debby”, have become standards, played and recorded by many artists. Evans was honored with 31 Grammy nominations and seven awards, and was inducted into the Down Beat Jazz Hall of Fame.