Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Ongarello A., Ballads for jazz guitar: 12 songs arranged for jazz guitar. [+ CD ñ ðàçëè÷íûìè âàðèàíòàìè çàïèñåé áàëëàä ñáîðíèêà] — 2007 (Learn & Play)

Íîòíàÿ çàïèñü, áóêâåííî - öèôðîâîå îáîçíà÷åíèå àêêîðäîâ, òàáóëàòóðû

Ñîäåðæàíèå: Fly me to the moon / B. Howard. Georgia on my mind; Stardust / H. Carmichael.Laura / D. Raksin. Love is a many splendored thing / S. Fain. Misty / E. Garner. Moonlight serenade / G. Miller. My funny Valentine / R. Rodgers. Night and day / C. Porter. Over the rainbow / H. Arlen. Tenderly / W. Gross. The shadow of your smile / J. Mandel. ÏÐÈËÎÆÅÍÈÅ: CD ñ çàïèñÿìè áàëëàä ñáîðíèêà è äâóìÿ âàðèàíòàìè (îòäåëüíî àêêîðäû è ìåëîäèÿ) ìèíóñîâîé ôîíîãðàììû äëÿ àêêîìïàíåìåíòà.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Îòäåë èçäàíèé ïî ìóçûêå è ôîíîòåêà

Ïîäðîáíàÿ èíôîðìàöèÿ

Songs for you: ïîïóëÿðíûå ïåñíè íà àíãëèéñêîì ÿçûêå — 1996

Ñáîðíèê áóäåò èíòåðåñåí âñåì, êòî èçó÷àåò àíãëèéñêèé ÿçûê è ëþáèò ìóçûêó — äåòÿì è âçðîñëûì.  íåãî âêëþ÷åíû ïåñíè èç çíàìåíèòûõ ìóëüòôèëüìîâ Óîëòà Äèñíåÿ, ìþçèêëîâ, èç ðåïåðòóàðà ãðóïïû "Beatles" è äðóãèõ àìåðèêàíñêèõ è àíãëèéñêèõ ïîïóëÿðíûõ èñïîëíèòåëåé

Ñîäåðæàíèå: Who's Afraid of the Big Bad Wolf?: from Walt Disney`s "Thee Little Pigs" / Frank Churchill, lyric by A. Ronell. Winnie the Pooh: from Walt Disney`s "Winnie the Pooh and the Honey Tree"; Chim Chim Cher-ee: from Walt Disney`s: "Mary Poppins" / words and music by Richard M. Sherman and Robert B. Sherman. Some Day My Prince Will Come, Heigh-Ho: from Walt Disney`s: "Snow White and the Seven Dwarfs" / Frank Churchill, words by L. Morey. You Can Fly!: from Walt Disney`s: "Peter Pan" / Sammy Fain, words by S. Cahn. Mickey Mouse March: from Walt Disney`s TV Series "Mickey Mouse Club" / words and music by Jimme Dodd.Where is Love?: from "Oliver" / words and music by L. Bart. America the Beautiful / Samuel A. Ward (originally the humn "Materna"), words by K.L. Bates. Where Have All the Flowers Gone / words and music by Pete Seeger. Ets.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Ìóçûêàëüíûé ïîäâàë

Ïîäðîáíàÿ èíôîðìàöèÿ

Ellington D., Ìèð Äþêà Ýëëèíãòîíà — 2004 (Ïåðâûå øàãè â äæàçå)

Ìèð ìóçûêè Ýëëèíãòîíà îãðîìåí - ñâûøå òûñÿ÷è ïüåñ ìàëûõ è êðóïíûõ ôîðì. Îíè ïðèçûâàþò ëþäåé ê äóøåâíîìó áëàãîðîäñòâó, ãðàæäàíñêîìó ìóæåñòâó, ïîíèìàíèþ êðàñîòû. È çà ýòî ÷åëîâå÷åñòâî áëàãîäàðíî Ýäâàðäó Êåííåäè Ýëëèíãòîíó, èçâåñòíîìó âî âñåì ìèðå ïîä ïðîçâèùåì Äþê

Ñîäåðæàíèå: Creole Love Call; Cotton Tail; The Mooch; The Jeep Is Jumpin'/ Duke Ellington. Mood Indigo/ Duke Ellington - Barney Bigard - Irving Mills. It Don't Mean A Thing; Ñ Jam Blues/ Duke Ellington - Irving Mills. Solitude/ Duke Ellington - Eddie de Lange - Irving Mills. Sophisticated Lady/ Duke Ellington - Mitchell Paris - Irving Mills. In A Mellow Tone/ Duke Ellington - Milt Gabler - Irving Mills. Do Nothing Till You Hear From Me; Don't Get Around Much Anymore/ Duke Ellington - Bob Russell. I Got It Bad/ Duke Ellington - Paul Francis Webster. In A Sentimental Mood/ Duke Ellington - John Kurtz - Irving Mills. Day Dream/ Duke Ellington - Billy Strayhorn - JohnLatouche. I'm Beginning To See The Light/ Duke Ellington - Johnny Hodges - Harry James - Don George. Satin Doll/ Billy Strayhorn - Duke Ellington - Johnny Merser. Take The «A» Train/ Billy Strayhorn - Joja Sheril. Things Ain't What They Used To Be/ Merser Ellington. I Let A Song Go Out Of My Heart/ Duke Ellington - Irving Mills - Johnny Redmont.Prelude To A Kiss/ Duke Ellington - Irving Gordon- Irving Mills. Perdido/ Juan Tizol - H.J. Lengsfelder - Ervin Drake. Caravan/ Juan Tizol - Duke Ellington - Irving Mills.  èçä. òàêæå: Âîëûíöåâ, À. Ìóçûêàëüíûé ìèð Äþêà Ýëëèíãòîíà: ñ. 3

Ìåñòîíàõîæäåíèå èçäàíèÿ: Ìóçûêàëüíûé ïîäâàë

Ïîäðîáíàÿ èíôîðìàöèÿ

The Penguin Book of English Verse — 1983

The penguin book of english verse.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Jazz in Europe Vol. 1: Swing & jazz classique — 198-? (Jazz in Europe 1)

Ñîäåðæàíèå: Nobody Knows/Louis Armstrong;Honeysuckle Rose/Kid Ory, Henry "Red" Allen;Perdido/Johnny Hodges, Earl Hines;Airmail Special/Lionel Hampton;Summertime/Ella Fitzgerald;Sing Sing Sing/Gene Krupa;Lady Sings The Blues/Billie Holiday;Top Hat, White Tie And Tails / Fred Astaire;Cottontail/Ben Webster;These Foolish Things/LesterYoung;Autumn Leaves/Oscar Peterson;April In Paris/Count Basie

Ìåñòîíàõîæäåíèå èçäàíèÿ: Ìóçûêàëüíûé ïîäâàë

Ïîäðîáíàÿ èíôîðìàöèÿ

The Penguin Book of Victorian Verse — 1975

147 poets in a far-ranging survey of the Victorian age s significant poetic achievements. The pleasures of Victorian poetry lie in its multitude of lyric and dramatic voices and, above all, in its rhythmic power and subtlety. Nowhere else can these reading pleasures be better enjoyed than in the pages of Daniel Karlin s enormous selection of poetry written and published during the reign of Queen Victoria (1837-1901). Ranging from the late Romantic period to the brink of high modernism, The Penguin Book of Victorian Verse features a generous sampling of poems.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Baker F.T., Everyday Classics. Sixth Reader — 1924

The Sixth Reader is a book of world-famous stories. The great poems of Greece and Rome, the Bible, the myths of Northern Europe, and the epics and romances of the Age pf Chivalry are all represented. The book is addressed to the pupil. Proper names and the more difficult words and phrases have often been listed with their pronunciations after the lessons inwhich they occur. Other words have been listed For study with the Glossary.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Webster J., Three Plays — 1977 (Penguin English Library)

In calling Webster the 'Tussaud Laureate' Bernard Shaw spoke for all the critics who have complained of the atmosphere of charnel-house and torture-chamber in his plays. Certainly he can be morbid, macabre and melodramatic and exploits to the full the theatrical possibilities of cruelty and violent death. But critics have too often identified Webster's views with those of his characters and neglected his superb poetry and excellent craftsmanship. Though he was writing at a time of social confusion and pessimism, it is possible to see his own universe as an essentially moral one and his vision as deeply religious.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Webster J., Three Plays — 1982 (Penguin English Library)

In callina Webster the 'Tussaud Laureate' Bernard Shaw spoke for all the critics who have complained of the athmosphere of charnel-house and torture-chamber in his plays. Certainly he can be morbid, macabre and melodramatic and exploits to the full the theatrical possibilies of cruelty and violent death. But critics have too often identified Webster's views with those of the characters and neglected his suberb poetry and excellent craftsmanship. Though he was writing at the time of social confusion and pessimism, it is possible to see his own universe as an essentially moral one and his vision is deeply religious.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ