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With the Harry Potter film series now complete, Alfred Music and Warner Bros. Entertainment are proud to present easy piano arrangements from the eight epic films together in one collectible volume. For the first time ever, 37 sheet music selections by John Williams, Patrick Doyle, Nicholas Hooper, and Alexandre Desplat are collected along with eight pages of color stills from The Sorcerer's Stone to The Deathly Hallows, Part 2. By popular request, "Leaving Hogwarts" from The Sorcerer's Stone appears in print in this collection for the first time. It's a perfect gift for pianists of all ages who love the music of Harry Potter. Titles: Diagon Alley * Family Portrait * Harry's Wondrous World * Hedwig's Theme * Leaving Hogwarts * Nimbus 2000 * Voldemort * The Chamber of Secrets * Fawkes the Phoenix * Buckbeak's Flight * Double Trouble * Hagrid the Professor * Harry in Winter * Hogwarts March * Potter Waltz * This Is the Night * Dumbledore's Army * Fireworks * Loved Ones and Leaving * Professor Umbridge * Dumbledore's Farewell * Harry and Hermione * In Noctem * When Ginny Kissed Harry * Farewell to Dobby * Godric's Hollow Graveyard * Harry and Ginny * Obliviate * Ron Leaves * Snape to Malfoy Manor * Courtyard Apocalypse * Harry's Sacrifice * Lily's Lullaby * Lily's Theme * A New Beginning * Severus and Lily * Statues.

• Sales Rank: #17147 in Books
• Brand: Alfred Music
• Model: 00-39075
• Published on: 2012-03-01
• Original language: English
• Number of items: 1
• Dimensions: 11.50" h x 8.75" w x .25" l, 1.02 pounds
• Binding: Paperback
• 140 pages

Most helpful customer reviews

22 of 24 people found the following review helpful.
some good some bad
By E. Garrison
My biggest complaint about this book is that most of the songs are very painfully simple. A beginner pianist would probably enjoy these more than I did... That being said a lot of the songs are still very pretty. Just wish they were a little more challenging for a 'piano solo' book. Probably should be called 'easy piano'.

10 of 10 people found the following review helpful.
Amazingly Cheap Collectors Item ... but missing one very crucial piece.
By Adam
With the addition of the never before published "Leaving Hogwarts," this product is phenomenal. They truly chose the best pieces of each movie, however, A "Window to the Past" from Prisoner of Azkaban is missing. For some, Prisoner of Azkaban is the best score, and this product definitely plays tribute to "Double Trouble" but misses out on the other great theme of the third movie.
There are a bunch of selections from the first movie, then the second and third get ripped off. There is the great Spider theme from Chamber of Secrets, along with "Gilderoy Lockhart" and the "Flying Car" that are missing. But apart from the absence of these pieces, this product is a great buy. Retail on each individual movie's sheet music is $15, this book is less than $20 and comes with the best of the Harry Potter scores (for the most part).
I recommend it to every Harry Potter fan, especially for the price. Even if you don't play piano or read sheet music, it is amazing just to have the complete collection in one book for such a great price.

44 of 54 people found the following review helpful.
Impossible to glean information from reviews....
By Coral Sue
Truly impossible to pick an appropriate piano book to play & enjoy, either for oneself or one's student, if you can not see an example of the music!!!

These reviews are worthless. A 13 year old who has played for 2 years could be playing Bach 2 part inventions, or still pecking away at Alfreds Complete Adult Method, Level II.

I have also noticed over the years, that some publishing company will claim their collection is suitable for beginne & /or easier piano, only to find that their measures & notes are larger, containing fewer notes, & the music is printed with biiiigggg not and spaces between each note, while the notes chosen still move with monstrous, unnatural, improbable leaps & sometimes less than harmonous intervals. I believe this is technique is actually HARDER for a beginning pianist, requiring them to visually keep track of their note through more empty space filled with lines & spaces, before finding the next note, while the sound produced does not make sense to their listening ear. This skill being a more advanced special awareness & mature brain acumen.

PLEASE allow potential buyers to see several representative pages of EACH of the different pieces!!! No one would take the time to try to make up the middle of these pieces if you allowed them to see the beginning & end of a song, (for HEAVEN'S SAKE!!!)

A Potential Purchaser Cheryl

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• Sales Rank: #45176 in eBooks
• Published on: 1980-09-01
• Released on: 1980-09-01
• Format: Kindle eBook

Most helpful customer reviews

5 of 5 people found the following review helpful.
Great Book
By Jim
Out of any guitar teaching books I own, this one is my favorite. It is a larger type book with big plastic loop bindings. This makes open placement much easier. The music scales or graphics are very easy to read and the book is presented in a logical manner. This book also comes with 3 CD's which are named Book 1, Book 2 and Book 3. Very easy to use and follow. 5 stars.

1 of 1 people found the following review helpful.
After doing some reaserch on good guitar books I found this one and bought it
By Amazon Customer
After doing some reaserch on good guitar books I found this one and bought it. I've been playing the guitar on and off for about 6 years but never really took the time to learn the craft and the instrument I just looked for the tab of my favorite songs and played that. But now after years of frustration and not really knowing how to play I've decided to buy a couple of books (this one, music theory for guitarist and fretboard mastery) and start really learning how to play the guitar. Even tho as a beginner I took some lessons with 3 different teachers, this book has taught me more than all of them combined. This book is awsome for any guitarist looking to learn the fundamentals and basics. I belive it's very important to have a good base of knowledge as a musician to be able to acomplish anything you want in music. This book gives you that and more!

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After spending a good amount of money on one-on-one guitar lesson with professional guitarists, I've gotten nowhere. It's none of any of my former teachers' fault. It's just being 47 years old with a full-time job and and another full-time job raising a family with 3 young kids leave me with little time and energy for little else for myself, and that made it more challenging to learn how to play a musical instrument. I recently got this book and its CD's, after helping my oldest daughter with her viola practices using a CD to accompany her playing along with a book. All I can say is that it was at $15 well-spent. One thing I must say though - if you don't want to practice, then no matter how much you spend, it ain't gonna help you learn or play better. The accompaniments on the CD's will make you sound better than you can really play, and that will motivate you to practice even more. Honestly, it does make me want to "grab my guitar and play it all night long."

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Creativity is fundamental to human experience. In On Creativity David Bohm, the world-renowned scientist, investigates the phenomenon from all sides: not only the creativity of invention and of imagination but also that of perception and of discovery. This is a remarkable and life-affirming book by one of the most far-sighted thinkers of modern times.

• Sales Rank: #191445 in Books
• Published on: 2004-09-29
• Released on: 2004-09-01
• Original language: English
• Number of items: 1
• Dimensions: 7.79" h x .44" w x 5.08" l, .48 pounds
• Binding: Paperback
• 192 pages

Review
"...innovative and insightful work...." -- Choice - July/Qugust 1998

About the Author
David Bohm (1917-92). Renowned physicist and theorist who was one of the most original thinkers of the second half of the twentieth century.

Most helpful customer reviews

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Five Stars
By Michael Pryzdia
Every artist should read this book.

61 of 62 people found the following review helpful.
He was a remarkable man.
By Frank Bierbrauer
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In this short text Bohm looks at creativity, what it is, what it means in human life, how it works and various other aspects. Bohm, like in his other works, shys away from any form of solid definition, this is done on purpose, rather than because of a lack of understanding, Bohm insists that any form of thought, concept, idea which becomes crystalised as the "whole truth and nothing but the truth" interferes with the natural flow of reality which is ever changing and never static, this includes ideas as well which are insights about this flow (expanded on earlier in eg "Wholeness and the Implicate Order"). In this book he considers something he calls artamovement or "the art of fitting in the flow", here the word fit is in fact the meaning of art, in fact all forms of human endeavour are a form of art. This fitting in is the way people find out whether something is true or right in a context.
This, as usual, is highly original and especially true to itself, Bohm always writes what is true to itself and himself, he never, right until his dying day, failed to expound the truth whether he liked it or not. He epitomises the true seaker of knowledge which today is often smothered by individual desires, political expediency, domination from others or downright egotism. He was a remarkable man.

42 of 47 people found the following review helpful.
Science and Art
By Dorion Sagan
Consisting of four essays and an interview with Louwrien Wijers, On Creativity provides a clear window into the ruminations of physicist David Bohm. Author of a textbook on quantum mechanics, Bohm is best known for his speculations on "the implicate order," a world view which draws on quantum mechanics in an attempt to go behind colleague Niels Bohr's "Copenhagen Interpretation"-to wit, that the mathematics of quantum theory, which lead to paradoxes in the macroscopic realm, should not be construed as anything more than mathematical treatments that work. This view, or rather non-view, was not acceptable to Einstein. The basic solution of Bohm is to suggest that our entire three-dimensional reality, which shows evidence of nonlocality-the instantaneous measurable correlation of attributes of distant particles-is a projection of a deeper "enfolded" realm. These essays, however, with titles such as "On creativity," "On the relationships of science and art," "The range of imagination," and "The art of perceiving movement" are not overly recondite, abstruse, or abstract-let alone mathematical. In On Creativity, for example, Bohr analyzes what makes not just a great, but a truly original scientist, such as Newton and Einstein (with whom Bohm corresponded). Perhaps surprisingly, he includes Helen Keller and her teacher Anne Sullivan in their company. The reason has to do with Bohm's emphasis on an open-minded attitude, free of worldly obsessions such as career advancement or "kicks," that allows the truly creative mind to bust through societal blinders and see the world as a whole in a new way. In the case of Sullivan she exposed Keller, deaf and blind from birth, to water in a variety of settings, writing the word on her hand. At a given point, Keller, who was animalistic before, put the different stimuli together, seeing their underlying unity. This is the kind of unity that Bohr argues Newton discovered in his realization that planets, like apples, fall-only much more slowly-a view that dispensed with the prevailing notions of the Greeks, who distinguished between the perfection of the celestial, and the imperfection of the earthly realm. Einstein went further, showing that seemingly equidistant and simultaneous times and places really depended upon the relationship of observers to observed. What is wonderful about Bohm is that he is deeply immersed in and respectful of, art and philosophy and religion. A close friend of Krishnamurti, he relates the work of Hegelian philosophy and Coleridgian poetics to scientific inquiry; he says he personally was inspired by artists. For example, in the essay, "The Range of Imagination," he attempts to link art to science by starting with Owen Barfield's analysis of Coleridge's distinction between two kinds of imagination-primary imagination and fancy. Although they are linked-mutually implicated is as everything else in Bohm's implicate universe-the primary imagination is much more than just putting things together in pleasing shapes. Perhaps the single biggest insight in this book, which everywhere battles what Bohm considers to be the deleterious effects of fragmentation (and mediocrity, conformity, and "the mechanical") in thinking, is his emphasis that, in great art, no less than great science, the truth is not necessarily what is liked. The truth is what we find *whether we like it or not*--and this scientific spirit needs to apply to art as well. In a way, however, this brilliant exposition creates a contradiction for Bohm, as he elsewhere identifies the true with the beautiful (in large part due to the aesthetic criterion of elegance for choosing among competing world views and mathematical theories). The book might also be criticized for being stylistically bland even as it sings the praises of art, as well as perhaps politically naive in tracing human malaise to an abstraction so great as "the fragmentary." Nonetheless, this work is highly recommended for its analysis of the fascinating, still woefully underexplored terrain connecting art and science.

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• Sales Rank: #379796 in Books
• Published on: 1601
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A superior treatment of Machiavelli's minor masterpiece! Flaumenhaft's beautifully crafted, literal translation aims to capture the original intent of the playwright. Machiavelli himself distinguished carefully between translations and revisions; thus, Flaumenhaft finds a faithful translation essential to conveying Machiavelli's thought and to allowing direct access to the work. The Prologue explores the relationship between Machiavelli's stage comedies--part of the Comedia Erudita of the Italian Renaissance--and his political books. Mandragola focuses on the interplay between personal and political ethics, a major theme throughout his works. The translation includes helpful notes that clarify allusions, language, and context. Names of characters and places, titles and forms of address, and some familiar Italian words and phrases remain in Italian. Passages in Latin, as well as idioms, are reproduced in the notes.

• Sales Rank: #119308 in Books
• Brand: Brand: Waveland Press Inc
• Published on: 1981-02
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x 5.50" w x .25" l, .20 pounds
• Binding: Paperback
• 57 pages

Features

• Used Book in Good Condition

Review
So you don't think Machiavelli had a sense of humor? Then go see the rolicking production of his comedy MANDRAGOLA at the Shakespeare Theater... MANDRAGOLA, adapted by Peter Maloney, is filled not only with Machiavelli's rather questionable wisdom, but with a surprising amount of wit... If comedy seems an unlikely metier for Machiavelli, the action of MANDRAGOLA is of the any-means-to-an-end variety... These days, when Machiavellian strategy is being taken all too seriously, it's refreshing to laugh at the old boy. --J. Wynn Rousuck, The Sun, Washington, DC

A naughty comedy by that great Italian Renaissance guy, Machiavelli...performed with great flair and precision...a very funny, bawdy play...a farce about lust, both physical and financial... A hilarious and lively visit to the streets and gutters of 16th century Florence. --Jane Horwitz, WTTG TV, Washington, DC

Machiavelli's realistic and unflattering opinion of human nature, expressed most notably in his classic The Prince, is given full voice here, but to obvious farcial effect. --American Theater

A naughty comedy by that great Italian Renaissance guy, Machiavelli...performed with great flair and precision...a very funny, bawdy play...a farce about lust, both physical and financial... A hilarious and lively visit to the streets and gutters of 16th century Florence. --Jane Horwitz, WTTG TV, Washington, DC

Machiavelli's realistic and unflattering opinion of human nature, expressed most notably in his classic The Prince, is given full voice here, but to obvious farcial effect. --American Theater

Language Notes
Text: English, Italian (translation)

From the Publisher
Consider these Machiavelli translations also available from Waveland Press: Clizia (ISBN 9780881339024) and The Prince (ISBN 9780881334449).

Most helpful customer reviews

20 of 20 people found the following review helpful.
A Great Translation of an Often-Overlooked Work
By James Schoonmaker
Machiavelli is best known for his treatises on political action, most notably Il Principe. Most readers don't realize he was also a playwright, however, and an accomplished one. Mandragola is one of his best plays.
One of the themes that runs through all of Machiavelli's works is the art of the crafty assault, and it is present here in spades. His greatest respect is for the man behind the puppet, and in this case it is Ligurio. The plot has already been outlined in a previous review, so it will not be discussed here, but the primary purpose of the plot is to develop the intricate artifice that Ligurio uses to help his friend Callimaco.
The translation here is great also. At some points the translation interferes with the meter, but this is rare; most of the play flows along very naturally. The language is clear and easy to read, and yet Flaumenhaft, the translator, captures the essence of such difficult words as virtu, animo, and remedio without losing any of their meaning. Alternate meanings are often given in the footnotes.
This is an excellent play, and the translation more than holds up its end. For those who appreciate the use of strategem, want a more thorough understanding of Machiavelli, or simply want to read a great play, this is a wonderful book.

3 of 3 people found the following review helpful.
Machiavellianism in practice
By William J. Fickling
The plot of this Renaissance play by Niccolo Machiavelli was quite adequately described by a previous reviewer, so I won't repeat the synopsis here. Suffice it to say that, for those who have read "The Prince," this play provided an illustration of the ideas presented in that treatise as they might work out in practice.

The central character of the play is Ligurio. Machiavelli characterizes him as a parasite, but here I think Machiavelli is being ironic. I think Ligurio is a stand-in for Machiavelli himself. He is the crafty plotter, the one who puts the entire scheme in action. Callimaco is the noble prince for whose benefit Ligurio plots. Nicia and Fra Timoteo represent, respectively, the gullibility and stupidity of the lawyer/political class and the corruption and venality of the clergy. (Remember, Machiavelli was writing at a time when the Reformation was just around the corner, precisely because of clergymen like Fra Timoteo.) Lucrezia might be characterized as the innocent who is not so innocent after all; she initially appears to be a young girl who is about to be used to satisfy a young man's lust, but she eventually consents to the scheme and finally agrees to take on Callimaco as her lover. The underlying ethos of the play is that the end justifies the means, that other people can be duped and used to satisfy someone's wants, and that in the end everyone benefits. Pure Machiavelli!

39 of 41 people found the following review helpful.
Witty, well-translated book. Deserves to be better known.
By A Customer
Most people know Niccolo Machiavelli, author of "The Prince (Il Principe)", as the infamous apostle of power politics. But in his own day, Machiavelli was celebrated for his witty, sometimes satirical, plays. Perhaps the most entertaining of these--"Mandragola" (1518)--is available in this very readable edition.
The protagonist is Callimaco, a libidinous young man who sets about to seduce Lucretia, the enchanting wife of a wealthy merchant. Callimaco fortuitously learns that the merchant has tried desperately to father a child, but to no avail. The clever Callimaco thereupon disguises himself as a physician and in this guise examines Lucretia, finding her even more alluring than he has dreamt. He deftly diagnoses her condition and prescribes a curious concoction that he must produce from the root of the mandrake plant--thus "mandragola"--to cure Lucretia of her affliction. If Lucretia drinks this potion, he declares, she will most certain! ! ly conceive a child.
The gullible merchant is overjoyed, until he hears that the potion has one very severe side-effect: The first man to join with Lucretia carnally after she has partaken of the drink will die from the potion's effects! The merchant, Nicias, understands immediately: On no account must he be the first to sleep with his wife after she has taken the potion. He knows what he must do: He must find another. He explains the predicament to his wife, and she (reluctantly?) agrees to go along with her hustband's plan.
As the reader might have guessed, the "physician" Callimaco informs Nicias that he just happens to know a young man who might consent to this indecent proposal. This man is, of course, Callimaco himself, who reappears in yet another disguise.
Machiavelli's mischief is deliciously entertaining. The characters are true, and the innuendos are still fresh 480 years after Mandragola was first published.
SOURCES:
Muir, D. Erskine. Machiavell! ! i and His Times. New York: E.P. Dutton and Co., 1936.
Lun! dmark, Thomas. Niccolo Machivelli: The Return of the Prince (Il Ritorno del Principe). London: Transaction Publishers, 1998.

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