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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
The B
Non classifié
11 685
Piano & claviers
Piano seul
4 484
Piano, Voix
4 181
Piano, Voix et Guitare
2 811
Piano Facile
1 499
Instruments en Do
725
Accompagnement Piano
429
Orgue
246
Piano grosses notes
144
Piano Trio: piano, violon, violoncelle
104
1 Piano, 4 mains
101
Accordéon
58
Piano (partie séparée)
57
Orgue, Trompette (duo)
31
2 Pianos, 4 mains
25
Piano Quatuor: piano, 2 violons, violoncelle
25
Orgue, Piano (duo)
11
Piano Quatuor: piano, violon, alto, violoncelle
10
Clavecin
8
Clavier
8
Piano Quintette: piano, 2 violons, alto, violoncelle
6
1 Piano, 6 mains
3
Instrument seul et Orgue
3
2 Pianos, 8 mains
2
Tous Les Instruments
1
Accordéon, Voix
1
Ligne De Mélodie, Piano
1
Fake Book
1
+ 22 instrumentations
Retracter
Guitares
Ligne De Mélodie, (Paroles) et Accords
939
Guitare notes et tablatures
779
Basse electrique
514
Guitare
393
Paroles et Accords
287
Ukulele
200
Piano, Guitare (duo)
137
Guitare (partie séparée)
128
Dulcimer
51
2 Guitares (duo)
26
4 Guitares (Quatuor)
15
Mandoline
15
Banjo
12
Ensemble de guitares
7
3 Guitares (trio)
4
Ukulele Baryton
3
Guitare, Violon, Violoncelle (trio)
2
2 Mandolines (duo)
2
Basse électrique (partie séparée)
1
Ensemble de Ukulélés
1
+ 15 instrumentations
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Voix
Chorale SATB
1 403
Chorale 3 parties
477
Chorale TTBB
423
Chorale SSAA
342
Chorale 2 parties
211
Chorale Unison
106
Voix duo, Piano
78
Pack Instrumental pour Chorale
65
Voix seule
62
Voix duo
45
Voix Soprano, Piano
45
Voix Alto, Piano
41
Chorale
36
Voix haute
34
Voix Tenor, Piano
32
Voix Baryton, Piano
18
Voix moyenne, Piano
16
Voix Tenor
11
Voix Soprano
6
Voix basse, Piano
5
Chorale SSAATTBB
4
Voix basse
3
Soli, choeur mixte et accompagnement
1
Voix Mezzo-Soprano, Piano
1
Chorale SSATBB
1
Chorale SSATB
1
Voix, Guitare
1
Chorale SSATTB
1
Voix Soprano, Orchestre
1
Chorale SSAB, Piano
1
+ 25 instrumentations
Retracter
Vents
Clarinette
3 232
Clarinette et Piano
2 922
Clarinette (partie séparée)
2 200
Saxophone (partie séparée)
2 035
Flûte traversière et Piano
574
Flûte, Clarinette (duo)
506
Hautbois, Piano (duo)
506
Saxophone Alto
500
Flûte traversière
481
Saxophone Alto et Piano
447
2 Saxophones (duo)
435
Saxophone Tenor et Piano
392
Quatuor de Clarinettes: 4 clarinettes
372
Saxophone Tenor
332
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
317
2 Clarinettes (duo)
315
2 Flûtes traversières (duo)
288
Flûte, Hautbois, Clarinette, Basson
272
Quatuor de Saxophones: 4 saxophones
257
Hautbois, Clarinette (duo)
219
Saxophone
195
Clarinette, Basson (duo)
192
Clarinette, Violon (duo)
189
Hautbois (partie séparée)
187
Clarinette, Violoncelle (duo)
157
Ensemble de Clarinettes
152
3 Clarinettes (trio)
112
Quintette de Clarinettes: 5 clarinettes
90
Clarinette et Alto
85
Quintette de Saxophone: 5 saxophones
81
Flûte, Trompette (duo)
79
Saxophone Soprano et Piano
78
Quatuor de Flûtes : 4 flûtes
76
2 Saxophones, Piano
71
3 Saxophones (trio)
71
Clarinette Basse, Piano
66
Flute (partie séparée)
63
Instruments en Mib
63
Saxophone, Clarinette (duo)
59
Flûte, Clarinette, Piano (trio)
53
Saxophone Baryton, Piano
46
2 Hautbois (duo)
45
2 Flûte à bec (duo)
40
Cor anglais, Piano
33
Ensemble de saxophones
33
2 Clarinettes, Piano
32
Saxophone Soprano
32
Clarinette, Trombone (duo)
32
Hautbois, Trompette (duo)
31
Flûte, Clarinette et Basson
30
Clarinette, Harpe (duo)
29
Ensemble De Flûte à bec
29
Trio de Flûtes: 3 flûtes
27
Clarinette Basse
27
Hautbois, Basson (duo)
27
Flûte, trombone et piano
27
Hautbois
25
Flûte, Hautbois, Clarinette (trio)
24
Flûte et Guitare
24
Clarinette, Trompette (duo)
24
Hautbois, Clarinette, Basson (trio d'anches)
24
Clarinette, Tuba
23
Clarinette, Violoncelle, Piano (trio)
22
Flûte à bec Soprano
20
Ensemble de Flûtes
19
Flûte, Violon
17
Flûte à bec Alto
16
Hautbois, Flûte
16
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
15
Clarinette, Guitare (duo)
15
Clarinette, Contrebasse (duo)
14
Clarinette, trompette et piano
12
Flûte, Saxophone (duo)
11
Saxophone Baryton
10
2 Flûtes traversières, Piano
10
Flûte, Violon, Piano
10
Flûte, Alto (duo)
10
Flûte à Bec
9
Quatuor de Flûtes à bec
9
Quintette de Flûte : 5 flûtes
8
Flute, harpe et violon
7
Saxophone et Piano
7
2 Clarinettes, Basson
7
Flûte, Hautbois, Basson
7
Cor Anglais
6
Harmonica
6
Flûte, Alto et Piano
6
Flûte, Violoncelle, Piano (trio)
5
Flûte, Clarinette, Cor, Basson (Quartet)
5
Flûte, Violon et Violoncelle
5
Flûte, Violoncelle
5
Piccolo
5
3 Hautbois
4
Ocarina
4
Flûte, Violon, Violoncelle et Piano
4
Hautbois, Guitare (duo)
3
Saxophone et Orgue
3
Clarinette, Alto et Piano (trio)
3
Saxophone et Guitare
3
Flûte irlandaise
3
Clarinette, Orgue
3
Flûte, Hautbois (duo)
2
Hautbois, Violoncelle et Piano
2
Flûte, Clarinette, Violon (trio)
2
4 Hautbois
2
Clarinette, Basson, Piano (trio)
2
Piccolo, Piano
2
Flûte, Hautbois, Piano (trio)
2
Flûte à bec Soprano, Piano
2
Flûte à bec Alto, Basse continue
2
Flûte à bec Tenor
1
Flûte, Basson et Piano
1
3 Flûtes à bec (trio)
1
Ensemble à vent
1
Hautbois, Violon, Piano
1
Clarinette, Orchestre
1
Harmonica, Piano
1
Flûte et Quatuor à Cordes
1
Flûte, alto et harpe
1
Hautbois, Clarinette et Piano (Trio)
1
+ 115 instrumentations
Retracter
Cuivres
Trompette
3 817
Trompette (partie séparée)
2 612
Trompette, Piano
2 228
Trombone (partie séparée)
1 566
Trombone et Piano
549
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
499
Trompette, Trombone (duo)
440
Trombone
403
Tuba
301
Tuba (partie séparée)
286
Trompette, Cor (duo)
269
2 Trompettes (duo)
204
Cor
200
Quatuor de Cuivres : 2 trompettes, trombone, tuba
188
Quatuor de Cuivres
176
2 Trombones (duo)
165
Cor et Piano
152
Tuba et Piano
149
Tuba ou Euphonium ou Saxhorn
126
Quatuor de Cuivres: 2 trompettes, Cor, trombone
109
Euphonium
81
Cornet A Pistons
70
Trompette, Saxophone (duo)
68
Instruments en Sib
67
Trompette, violon (duo)
64
Trompette, Violoncelle (duo)
61
Trompette, Tuba (duo)
49
Cor (partie séparée)
46
Euphonium, Piano (duo)
46
Quatuor de cuivres: 4 trombones
43
Ensemble de Trombones
36
Cor anglais, Piano
33
Ensemble de Trompettes
33
Trompette, Basson (duo)
27
2 Cors (duo)
26
Trombone, Tuba (duo)
19
Trio de Cuivres
18
2 Trompettes, Clavier (piano ou orgue)
17
Trompette, Harpe
16
3 Trompettes (trio)
15
Trompette, Trombone, Piano
14
2 Tubas (duo)
14
2 Euphoniums et 2 Tubas
12
Quatuor de cuivres: 4 cors
11
Bass Clef Instruments
10
Euphonium, Tuba (duo)
10
Trompette et Guitare
9
Trombone basse
7
3 Trombones (trio)
7
4 Tubas
6
Tuba et Orgue
6
Cor Anglais
6
Ensemble de Cors
6
Trombone et orchestre
3
Quatuor de cuivres: 4 trompettes
3
2 Euphoniums (duo)
3
Trombone basse et Piano
2
Trombone, Cor (duo)
2
Quatuor de cuivres: 2 trompettes, 2 trombones
2
Trombone, Orgue
2
3 Euphoniums
1
2 Trombones, Piano
1
Trompette, Euphonium (duo)
1
3 Cors (trio)
1
2 Cors, Piano
1
Clarinette, Cor (duo)
1
Instruments en Fa
1
Cornet et orchestre
1
Ensemble de Tubas
1
4 Euphoniums
1
3 Tubas (trio)
1
Euphonium (partie séparée)
1
Trombone, Violon (duo)
1
Cor, Tuba (duo)
1
+ 69 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
846
Violon et Piano
717
Violon
622
Violoncelle, Piano
545
Alto, Piano
474
Violoncelle
466
Alto seul
267
Violon, Violoncelle (duo)
252
2 Violons (duo)
214
2 Violoncelles (duo)
198
Harpe
196
2 Altos (duo)
126
Trio à Cordes: violon, alto, violoncelle
120
Violon, Alto (duo)
105
Alto (partie séparée)
103
Contrebasse (partie séparée)
76
Quintette à cordes: 2 violons, alto, violoncelle, basse
61
Contre Basse
56
Contrebasse, Piano (duo)
54
2 Harpes (duo)
53
Trio à Cordes: 2 violons, violoncelle
52
Piano Trio: Violon, Alto, Piano
44
Violon (partie séparée)
22
Violon, Guitare (duo)
19
Alto, Violoncelle (duo)
18
Trio à Cordes: 3 violoncelles
15
4 Violoncelles
13
2 Violons, Piano
13
Violoncelle , Guitare (duo)
12
2 Contrebasses (duo)
10
Harpe, Flûte (duo)
10
Trio à cordes: 3 violins
10
Violon, Clarinette, Piano (trio)
10
Trio à Cordes: 2 violons, alto
10
Violoncelle, Contrebasse (duo)
9
2 Violoncelles, Piano
9
Harpe, Violoncelle (duo)
7
Alto et Harpe
6
Trio à cordes: 3 altos
6
Harpe, Violon (duo)
5
Quintette à cordes: 2 violons, 2 altos, violoncelle
5
Violon, Basse continue
4
Violoncelle (partie séparée)
4
Quintette à cordes : 2 violons, alto et 2 violoncelles
4
Violoncelle, Orchestre
4
Harpe, Violon, Violoncelle
3
Alto, Guitare (duo)
3
Quatuor à cordes: 4 violons
3
Ensemble d'Altos
2
Harpe, Voix
2
Alto et Basson
1
Ensemble de Violons
1
Ensemble de Violoncelles
1
2 Altos, Piano
1
Violon, Trompette et Piano
1
Violon, Basson (duo)
1
Trio à cordes
1
4 Harpes
1
4 Contrebasses
1
+ 54 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
10 098
Fanfare
1 083
Ensemble Jazz
724
Orchestre
367
Ensemble de cuivres
271
Orchestre à Cordes
269
Cloches
240
Batterie
184
Jazz combo
169
Orchestre de chambre
155
Batterie (partie séparée)
70
Ensemble de Percussions
58
Marimba
31
Percussion (partie séparée)
28
Percussion
12
Vibraphone
11
Ensemble d'École
7
Quintette de Cuivres: autres combinaisons
7
Piano et Orchestre
6
Timbales
4
Xylophone
3
Orchestre, Violon
3
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Xylophone, Piano
2
2 Caisses Claires (duo)
1
Big band
1
Marimba, Piano (duo)
1
Vibraphone (partie séparée)
1
Timbales (partie séparée)
1
+ 24 instrumentations
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BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
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CHANT - CHO…
CHARANGO
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CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
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SAXOPHONE
SYNTHE
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--INSTRUMENTS--
ACCORDEON
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AUTOHARPE
BANJO
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BASSON
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CHORALE - CHAN…
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CLAIRON
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The B
Partitions à imprimer
90 254 partitions trouvées
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9976
The Story Of Reuben Clamzo & His Strange Daughter
#
Chorale TTBB
#
FACILE
#
Arlo Guthrie
#
Craig Hanson
#
The Story Of Reuben Clamzo &am
#
Edition Craig Hanson
#
SheetMusicPlus
Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edi...
(+)
Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
Two Scenes from The Rubáiyát of Omar Khayyám (Trio for Bb Clarinet, Violin and Piano)
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Violon, Clarinette, Piano (trio)
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AVANCÉ
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Adam Lenhart
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Two Scenes from The Rubá
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Adam Lenhart
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SheetMusicPlus
B-Flat Clarinet,Piano,Violin - Level 5 - SKU: A0.1208741 Composed by Adam Lenhart. Chamber,Classical,Contemporary,Contest,Festival. 33 pages. Adam Lenha...
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B-Flat Clarinet,Piano,Violin - Level 5 - SKU: A0.1208741 Composed by Adam Lenhart. Chamber,Classical,Contemporary,Contest,Festival. 33 pages. Adam Lenhart #806841. Published by Adam Lenhart (A0.1208741). Introduction to The Rubáiyát of Omar KhayyámThe Rubaiyat of Omar Khayyam is a Persian poetry collection first put together in 1460 in Shiraz.  It consists of quatrains, four-line poems, with a set of unconventional themes.  The poetry is irreligious and questions the afterlife and God's providence.  It shows keen awareness of the shortness of life and the finality of death. It advises therefore that every fleeting moment of every day should be savored, with wine, lovers and song. The combination of a serious philosophy of life and a carefree attitude has made the poetry popular for centuries.  In 1859, Edward FitzGerald brought out a loose English translation that took the world by storm.  It became the most beloved and widely known poem in the English language for decades until its popularity finally faded in the late twentieth century. Although they were attributed to the great mathematician and astronomer, Omar Khayyam (d. 1131), the poems were by many anonymous hands, and he was just a frame author, akin to Scheherezade in the Arabian Nights.- Dr. Juan Cole, Richard P. Mitchell Collegiate Professor of History at the University of MichiganAbout the CompositionTwo Scenes from The Rubáiyát of Omar Khayyám explores and embodies two of the main themes that carry throughout the quatrains of the poem collection. In FitzGerald's translation, the quatrains follow a day to night cycle. The two movements reflect this by starting off with an abrupt wake up section and ending the piece with a nocturne.  The first movement, Wine, celebrates the camaraderie, joy and chaos that comes through the physical joy of being with friends. The clarinet, violin and piano interact in a conversational way, talking, laughing, and insulting one another in their own independent lines.The second movement is entitled Intimacy and explores the emotional joy of connecting with one another. The movement is set in a waltz style dance and draws influence from Chopin, Liszt and other romantic era composers. This is juxtaposed by youthful and energetic phrases so that the piece embodies all forms of love: young love, years of marriage and even friendship. Each movement has a sense of urgency and density which is present in the rubá'iyát as well, expressing to the reader that our time on Earth is so short and to make the most of each day.---------------------------Adam Lenhart (b. 2002) is a University of Michigan student of music theory, composition, voice and organ from Ottawa Lake, Michigan. As a theorist, his areas of study vary widely, including 18th century counterpoint, the early American Sacred Harp tradition, and impressionism. As a composer, his music draws inspiration from nature, mathematics and poetry. In 2020 he was awarded the Michigan Music Education Association’s Young Composers of Michigan award, as well as first prize in the University of Toledo Young Composers competition. Lenhart has also participated in numerous ensembles across Michigan, including the MYAF All-State Choir, Tecumseh Pops Orchestra, University of Michigan Men’s Glee Club and the SMTD University Choir. He thoroughly enjoys collaboration with other composers, performers, poets and visual artists. Some of his recent projects include collaborations with individuals from the University of Michigan Chamber Music, History, and Poetry departments.
$14.99
Feather Report: Baritone T.C.
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Saxhorn / bariton b.c. (partie séparée)
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Kris Berg
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Jazz
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Feather Report: Baritone T.C.
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Jazz Ensemble - SKU: AX.00-PC-0017136_BTC1 Baritone T.C.. Composed by Kris Berg. Funk; Jazz. Part. 3 pages. Alfred Music - Digital Sheet Music #0...
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Jazz Ensemble - SKU: AX.00-PC-0017136_BTC1 Baritone T.C.. Composed by Kris Berg. Funk; Jazz. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0017136_BTC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017136_BTC1). UPC: 038081320793.With the distinct flavor of the group Weather Report, writer Kris Berg continues his successful string of chicken-related jazz ensemble titles with Feather Report. A superb chart with a hip-hop/shuffle-swing kind of groove and a written-out tenor solo, although other players can handle the simple two-chord solo section. Some meter changes from 4 to 3 and back, but nothing dangerous. Lead trumpet range is to written A above the staff (optional C). Brass players have a tough blow in this one, but it's worth it. Very hip chart and another winner from Kris Berg. (6:17) This title is available in SmartMusic.
$3.00
Feather Report: 3rd Baritone T.C.
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Saxhorn / bariton b.c. (partie séparée)
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Kris Berg
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Jazz
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Feather Report: 3rd Baritone T
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Jazz Ensemble - SKU: AX.00-PC-0017136_BTC3 3rd Baritone T.C.. Composed by Kris Berg. Funk; Jazz. Part. 3 pages. Alfred Music - Digital Sheet Musi...
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Jazz Ensemble - SKU: AX.00-PC-0017136_BTC3 3rd Baritone T.C.. Composed by Kris Berg. Funk; Jazz. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0017136_BTC3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017136_BTC3). UPC: 038081320793.With the distinct flavor of the group Weather Report, writer Kris Berg continues his successful string of chicken-related jazz ensemble titles with Feather Report. A superb chart with a hip-hop/shuffle-swing kind of groove and a written-out tenor solo, although other players can handle the simple two-chord solo section. Some meter changes from 4 to 3 and back, but nothing dangerous. Lead trumpet range is to written A above the staff (optional C). Brass players have a tough blow in this one, but it's worth it. Very hip chart and another winner from Kris Berg. (6:17) This title is available in SmartMusic.
$3.00
The Girl In The Green Bandanna
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Franklyn Grace
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The Girl In The Green Bandanna
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Franklyn Grace Creative Arts
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet Bass Clarinet,Bassoon,Flute,Oboe - Level 5 - SKU: A0.1169176 By Franklyn Grace. By Franklyn Grace. Chamber,Contempora...
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Woodwind Ensemble,Woodwind Quintet Bass Clarinet,Bassoon,Flute,Oboe - Level 5 - SKU: A0.1169176 By Franklyn Grace. By Franklyn Grace. Chamber,Contemporary. 39 pages. Franklyn Grace Creative Arts #769302. Published by Franklyn Grace Creative Arts (A0.1169176). The Girl In the Green Bandanna is a contemporary woodwind quintet for flute, oboe, clarinet, bass clarinet, and bassoon. It is based upon the classical Rondo Form, with this particular pattern of the form being ABACBA. These six sections that comprise the piece all focus in some capacity on two individual themes: the first, slower theme of the A Section and the contrastingly more lively theme that follows immediately afterward in the B Section.Below is a theoretical analysis of the parts and how they each have their own unique nod, whether big or small, to these two main themes. A1 (mm. 1-9): The opening section of the piece, which introduces Theme 1.B1 (mm. 10-22): Directly following the opening, this section introduces Theme 2.A2 (mm. 23-58): After a brief interlude from the bassoon part, the main motif from Theme 1 returns, presented as motivic manipulation in the clarinet part of this section, underneath the flute melody.C (mm. 59-123): A new, more jaunty section not yet heard in the piece, though which still contains occasional traces of the main motif from Theme 2.B2 (mm. 124-144): Theme 2 in a modulated key and with a more majestic energy. Here, the two themes merge together momentarily, as Theme 1 can be heard briefly in the Clarinet part during the first eight measures of this section, much akin to A2.A3 (mm. 145-149): The outro of the piece, which is a polytonal rendering of the modulated key from B2 and the original opening key.
$9.99
James Bond Theme: Baritone T.C.
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Saxhorn / bariton b.c. (partie séparée)
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Methodes
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Michael Story
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James Bond Theme: Baritone T.C
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Jazz Ensemble - SKU: AX.00-PC-0015233_BTC1 Baritone T.C.. Arranged by Michael Story. Instructional. Part. 1 pages. Alfred Music - Digital Sheet M...
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Jazz Ensemble - SKU: AX.00-PC-0015233_BTC1 Baritone T.C.. Arranged by Michael Story. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0015233_BTC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015233_BTC1). ISBN 9780757934193. UPC: 029156934441.James Bond was back in the theaters this year and once again captivated audiences around the world. This swingin' theme, in the very capable hands of Mike Story, works really very well for younger groups. Use this to teach the swing style, and keep your players interested with a song they know. Mike Story strikes again with another great arrangement! (1:48).
$3.00
The Chicken: Baritone T.C.
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Saxhorn / bariton b.c. (partie séparée)
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Jazz
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Alfred James Ellis
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Kris Berg
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The Chicken: Baritone T.C.
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Jazz Ensemble - SKU: AX.00-PC-0017269_BTC1 Baritone T.C.. Composed by Alfred James Ellis. Arranged by Kris Berg. Jazz. Part. 2 pages. Alfred Musi...
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Jazz Ensemble - SKU: AX.00-PC-0017269_BTC1 Baritone T.C.. Composed by Alfred James Ellis. Arranged by Kris Berg. Jazz. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017269_BTC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017269_BTC1). ISBN 9780757934124. UPC: 654979997412.Whoa, hold on to your feathers! If you want energy and excitement and a funky groove, then check out Kris Berg's chart, The Chicken. The legendary electric bassist Jaco Pastorius recorded this powerhouse tune and arranger Kris Berg has adapted it for the Jazz Band Series. If you have a strong electric bass player, then you have found yourself a showstopper with this arrangement. The tenor sax solo (written solo provided), the optional guitar solo, and the solo bass line will showcase your soloists. Your ensemble will totally devour The Chicken. Guaranteed to pluck the audience right out of their seats!
$3.00
The Chicken: 3rd Baritone T.C.
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Saxhorn / bariton b.c. (partie séparée)
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Jazz
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Alfred James Ellis
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Kris Berg
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The Chicken: 3rd Baritone T.C.
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Jazz Ensemble - SKU: AX.00-PC-0017269_BTC3 3rd Baritone T.C.. Composed by Alfred James Ellis. Arranged by Kris Berg. Jazz. Part. 2 pages. Alfred ...
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Jazz Ensemble - SKU: AX.00-PC-0017269_BTC3 3rd Baritone T.C.. Composed by Alfred James Ellis. Arranged by Kris Berg. Jazz. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017269_BTC3. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017269_BTC3). ISBN 9780757934124. UPC: 654979997412.Whoa, hold on to your feathers! If you want energy and excitement and a funky groove, then check out Kris Berg's chart, The Chicken. The legendary electric bassist Jaco Pastorius recorded this powerhouse tune and arranger Kris Berg has adapted it for the Jazz Band Series. If you have a strong electric bass player, then you have found yourself a showstopper with this arrangement. The tenor sax solo (written solo provided), the optional guitar solo, and the solo bass line will showcase your soloists. Your ensemble will totally devour The Chicken. Guaranteed to pluck the audience right out of their seats!
$3.00
O Praise the Lord
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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Andrew Schneider
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O Praise the Lord
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Andrew Schneider
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.930752 Composed by Andrew Schneider. Baroque,Christian,Classical,Contemporary,Sacred. Octavo. 18 pages. Andrew S...
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Choral Choir (SATB) - Level 3 - SKU: A0.930752 Composed by Andrew Schneider. Baroque,Christian,Classical,Contemporary,Sacred. Octavo. 18 pages. Andrew Schneider #3584607. Published by Andrew Schneider (A0.930752). This is a choral anthem setting of Psalm 117 designed for either church or concert use. In its effortless use of various elements of Baroque practice, I have written a piece which will hopefully be useful for high schools and community colleges with smaller choirs to get students to sing works which can prep them for repertoire. Churches will also find this a work appropriate for any festive occasion and also useful in telling people that composers actually exist today who like the bygone way of doing things. And also with a rather exciting piano part! I certainly enjoy raising the bar.To that end, the A section can be sung on its own as a separate piece, as it is deliberately easier than the B section, which has more chromatic and polyphonic passages. This is the perfect piece to convey to high school students the impression that Baroque music can be exciting, spontaneous, and not old-fashioned, and in a matter which will be immediately perceived to be authentic.The ad libitum trumpet parts are available directly from the composer. Though they are not strictly necessary for a successful performance, they do give a special spice and festive aura that can only be beneficial.
$2.99
Prelude 22 in B Minor Phrygian
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 22 in B Minor Phrygian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292494 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292494 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #883011. Published by Brian Golden (A0.1292494). Prelude 22 in B Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 15 in B Major Mixolydian
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 15 in B Major Mixolydi
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1248572 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1248572 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #843064. Published by Brian Golden (A0.1248572). Prelude 15 in B Major Mixolydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Grieg: Hall of the Mountain King from Peer Gynt Suite for Clarinet & Piano
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Clarinette et Piano
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INTERMÉDIAIRE
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Classique
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Edvard Grieg
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James M
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Grieg: Hall of the Mountain Ki
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jmsgu3
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SheetMusicPlus
B-Flat Clarinet,Piano - Level 3 - SKU: A0.549575 Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,St...
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B-Flat Clarinet,Piano - Level 3 - SKU: A0.549575 Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Standards,World. Score and part. 18 pages. Jmsgu3 #3509361. Published by jmsgu3 (A0.549575). Duration: ca. 2:17 Score: 10 pages, solo part: 2 pages, piano part: 5 pages. A proven audience pleaser - perfect for a recital encore! Grieg Background In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions. Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and Bedřich Smetana in Bohemia. Legacy Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen. Peer Gynt Suite No. 1 (Op. 46) Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain. Holberg Suite and Misc. Summary It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life.
$24.95
Grieg: Hall of the Mountain King from Peer Gynt Suite for Trumpet & Piano
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Trompette
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INTERMÉDIAIRE
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Classique
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Edvard Grieg
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James M
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Grieg: Hall of the Mountain Ki
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jmsgu3
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SheetMusicPlus
B-Flat Trumpet,Piano - Level 3 - SKU: A0.549586 Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sta...
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B-Flat Trumpet,Piano - Level 3 - SKU: A0.549586 Composed by Edvard Grieg. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Standards,World. Score and part. 18 pages. Jmsgu3 #3511285. Published by jmsgu3 (A0.549586). Duration: ca. 2:17 Score: 10 pages, solo part: 2 pages, piano part: 5 pages. A proven audience pleaser - perfect for a recital encore! Grieg Background In the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions. Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and Bedřich Smetana in Bohemia. Legacy Grieg is especially celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen. Peer Gynt Suite No. 1 (Op. 46) Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain. Holberg Suite and Misc. Summary It must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life.
$24.95
Luther: Out of the Depths for Clarinet & Piano
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Clarinette et Piano
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DÉBUTANT
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Martin Luther
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James M
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piano
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Luther: Out of the Depths for
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jmsgu3
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SheetMusicPlus
B-Flat Clarinet,Piano - Level 1 - SKU: A0.548715 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score a...
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B-Flat Clarinet,Piano - Level 1 - SKU: A0.548715 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and part. 4 pages. Jmsgu3 #3411741. Published by jmsgu3 (A0.548715). Out of the Depths I Cry to You by Martin Luther arranged for clarinet & piano. The first verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. The piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics, essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to the contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed pieces, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.
$24.95
Luther: Out of the Depths for Trumpet & Piano
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Trompette
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DÉBUTANT
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Martin Luther
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James M
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Luther: Out of the Depths for
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jmsgu3
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SheetMusicPlus
B-Flat Trumpet,Piano - Level 1 - SKU: A0.548721 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score an...
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B-Flat Trumpet,Piano - Level 1 - SKU: A0.548721 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and part. 4 pages. Jmsgu3 #3411757. Published by jmsgu3 (A0.548721). Out of the Depths I Cry to You by Martin Luther. The first verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. The piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics, essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to the contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed pieces, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.
$24.95
Whom God Hath Joined Together
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Various
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Whom God Hath Joined Together
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Fred Bock Music Company
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SheetMusicPlus
Vocal SKU: HL.8738433 Vocal Solo. Composed by Various. Vocal collect. Fred Bock Publications. General Worship, Sacred, Wedding. 48 pages. Fred Boc...
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Vocal SKU: HL.8738433 Vocal Solo. Composed by Various. Vocal collect. Fred Bock Publications. General Worship, Sacred, Wedding. 48 pages. Fred Bock Music Company #BG0670. Published by Fred Bock Music Company (HL.8738433). ISBN 9780634003493. UPC: 073999384338. 9.0x12.0x0.158 inches.13 wedding selections for vocal solo, including: God Has Given You to Me * Let Us Climb the Hill Together * O Perfect Love * The Greatest of These Is Love * The Lord's Prayer * The Wedding Song * and more.
Song List
: When Adam Was Created Can Two Walk Together (B Leech) Fanfare and Processional (Bock) God Has Given You to Me (B Leech) Let Us Climb the Hill Together (P Clark) O Perfect Love (F Bock/D Gurney) O Tell Me with Thine Eyes (G Young) Recessional (R Carmichael) Whither Thous Goest (Richard Dewey) GREATEST OF THESE IS LOVE, THE (A & D DICKAU) LORD'S PRAYER, THE (INEZ WILLIAMSON) LOVE THAT LASTS A LIFETIME, THE (B LEECH) WEDDING SONG, THE (G HALLQUIST)
$12.95
Kingdom Coming (The Year of Jubilo)
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Ensemble de cuivres
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INTERMÉDIAIRE/AVANCÉ
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Henry Clay Work
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F
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Kingdom Coming
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Sweetwater Brass Press
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SheetMusicPlus
Brass Ensemble - Level 4 - SKU: A0.808688 Composed by Henry Clay Work (1832-1884). Arranged by F. Leslie Smith. Children,Folk,Holiday,Patriotic. Score a...
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Brass Ensemble - Level 4 - SKU: A0.808688 Composed by Henry Clay Work (1832-1884). Arranged by F. Leslie Smith. Children,Folk,Holiday,Patriotic. Score and parts. 31 pages. Sweetwater Brass Press #4111581. Published by Sweetwater Brass Press (A0.808688). Henry Clay Work, Civil War era song writer and abolitionist, composed Kingdom Coming in 1862. Chicago’s Root & Cady published it in April of that year, Christy’s Minstrels premiered it and it became enormously popular. The lyrics to Kingdom Coming, also known as The Year of Jubilo, were written as though slaves in the Confederacy were celebrating their upcoming freedom. However, the song was actually released eight months before President Lincoln issued the Emancipation Proclamation. Interestingly, Kingdom Coming also gained popularity in the South. A Southern edition was published in August in 1864, and the song remained a favorite in the former Confederacy for some years. Kingdom Coming has been used as theme or background music in a number of film, television and radio settings. Almost certainly its most popular iteration in modern times was the Sauter-Finegan Orchestra’s 1952 recording under the title Doodletown Fifers. This arrangement is a show-off piece for each member of the quintet. It moves along at a brisk pace of about 108, begins in the key of C and changes to A-flat, then B-flat. The first time through the melody, all instruments perform ensemble. Each succeeding repetition features an instrumentalist, starting with tuba and working up to Trumpet 1. The piece ends with another ensemble version. There are no exceptionally out-of-normal-playing-range notes: Trumpets 1 and 2 both play their B-flat below the scale several times, and Trumpet 2 plays G below the scale; Horn in F also plays its G below the scale; Trombone’s range is G at the bottom of the scale to D above the scale; Tuba’s lowest note is A-flat below the scale. Trumpet 1 will probably triple tongue its repetition of the melody, and some triple tonguing may be called for near the end of the piece for Trumpets 1 and 2 and Trombone. This arrangement was completed in 2018, and performance time runs just under 4 minutes. The arranger, Les Smith, would be very interested in your comments; contact him at lessmith@ufl.edu. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the SheetMusicPlus search box.
$9.97
Four Favorite Hymns from the Movie - "Stars In My Crown"
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Musique Sacrée
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John R
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Ginny Saltzman
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Four Favorite Hymns from the M
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Ginny's House of Music
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SheetMusicPlus
Instrumental Duet,Piano B-Flat Clarinet,Flute,Instrumental Duet,Piano - Level 2 - SKU: A0.1180477 Composed by John R. Sweeny, Robert Lowery, Robert Robi...
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Instrumental Duet,Piano B-Flat Clarinet,Flute,Instrumental Duet,Piano - Level 2 - SKU: A0.1180477 Composed by John R. Sweeny, Robert Lowery, Robert Robinson, John Wyeth. Arranged by Ginny Saltzman. 19th Century,Christian,Praise & Worship,Religious. 12 pages. Ginny's House of Music #780380. Published by Ginny's House of Music (A0.1180477). These are the 4 hymns in the colorized movie Stars in My Crown.(1) Will There Be Any Stars in My Crown? - An old favorite simplified hymn arrangement on Late Elementary-Early Intermediate Level, in the Key of G, with lyrics and Guitar chords included. From the scriptures Daniel 12:3 And they that be wise shall shine as the brightness of the firmament; and they that turn many to righteousness as the stars for ever and ever. 1 Peter 5:4 And when the chief Shepherd shall appear, ye shall receive a crown of glory that fadeth not away. 1 Thessalonians 2:19-20 For what is our hope, or joy, or crown of rejoicing? Are not even ye in the presence of our Lord Jesus Christ at his coming? For ye are our glory and joy.(2) Shall We Gather At The River? - An old favorite hymn with simplified Early Intermediate Level Piano Accompaniment, Lyrics, and Guitar chords. Very special arrangement with duet notation using the Violin and Flute. From the scriptures Revelation 22: 1 And he shewed me a pure river of water of life, clear as crystal, proceeding out of the throne of God and of the Lamb. 2 In the midst of the street of it, and on either side of the river, was there the tree of life, which bare twelve manner of fruits, and yielded her fruit every month: and the leaves of the tree were for the healing of the nations.(3) Beulah Land - An old favorite hymn with simplified Late Elementary - Early Intermediate Level Piano Accompaniment, Lyrics, in the Key of G. From the scriptures Deuteronomy 8: 7 For the Lord thy God bringeth thee into a good land, a land of brooks of water, of fountains and depths that spring out of valleys and hills; 8 A land of wheat, and barley, and vines, and fig trees, and pomegranates; a land of oil olive, and honey; 9 A land wherein thou shalt eat bread without scarceness, thou shalt not lack any thing in it; a land whose stones are iron, and out of whose hills thou mayest dig brass. 10 ¶ When thou hast eaten and art full, then thou shalt bless the Lord thy God for the good land which he hath given thee. Isaiah 33:17 Thine eyes shall see the king in his beauty: they shall behold the land that is very far off.(4) Come Thou Fount of Every Blessing - An old favorite hymn in the Key of C, with simplified Early Intermediate Level Piano Accompaniment, Lyrics, and additional melody with the Bb Clarinet. From the scriptures 1 Corinthians 15:10 But by the grace of God I am what I am: and his grace which was bestowed upon me was not in vain; but I laboured more abundantly than they all: yet not I, but the grace of God which was with me.1 Samuel 7 :12 Then Samuel took a stone, and set it between Mizpeh and Shen, and called the name of it Eben-ezer, saying, Hitherto hath the Lord helped us.
$7.99
Unaccompanied Tuba Suite #2 in B-flat Major
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Tuba
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INTERMÉDIAIRE/AVANCÉ
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Jason Allie
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Unaccompanied Tuba Suite #2 in
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Joaba LLC
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SheetMusicPlus
Tuba Solo - Level 4 - SKU: A0.991804 Composed by Jason Allie. 20th Century,Contemporary,Romantic Period,World. Individual part. 14 pages. Joaba LLC #310...
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Tuba Solo - Level 4 - SKU: A0.991804 Composed by Jason Allie. 20th Century,Contemporary,Romantic Period,World. Individual part. 14 pages. Joaba LLC #3109635. Published by Joaba LLC (A0.991804). DescriptionA delightful, intermediate-advanced level work suitable for encouraging students, hobbyists and professionals to improve or show off their performance skills. This multifarious work grips the audience with a variety of moods, styles and affects. A great recital piece or encore piece to show off the melodiousness, harmoniousness and vibrancy of the tuba. Please send feedback, praises and more to contact@joaba.com. Total Duration: ~10 to 15 minutes depending upon taking the repeats and varying the tempo.Performance Notes Introduction This piece boldly explores the B♠Major key and related tonalities. It yields exciting moves to tease the audience’s appetite for the real treats of the variations. The key to performing this piece is to feel and emphasize the half-note rhythm and play the phrases against it. Dynamics are up to the performer. Theme & Variations The delight for the performer and listener is to emphasize the unique traits of each variation while celebrating their similarities. A great audience toe-tapper (mostly!). Each variation’s title indicates how to play it; further notes below. 1 PLAYFUL Stretches the theme’s rhythms for a friendly teasing. 2 MAJESTIC This variation indulges in the compound meter exploration of the theme. Emphasize the linear lines and the ornamental notes will shine. 3 BRIGHT Practice the intervallic phrasing until you can hear what note follows which. Then bang it around for a jaunty, vigorous performance. 4 AGILE Practice slow then add speed. The luscious 16th notes energize the phrases and give them wit. 5 TEARFUL Let the notes do the work-don’t try too hard. 6 FESTIVE Must use repeats. A gigue that washes away the previous variation’s mood. Always emphasize the one-two bounce feel throughout. 7 TREMENDOUS Molto expressivo. This A section is anguish; B is reflective, loving, and then tender. 8 CHICKEN Chicken chickens chicken. Chicken! 9 FANTASTICAL No repeats: just a glorious monstrosity of extraordinariness. Get ugly. 10 MARCH Must use repeats. If you clip the dotted notes and focus on the one-two, one-two march rhythm, the melody will soar. 11 BLUES Be sure to swing it and adjust the tempo so the bluesy sound comes through. 12 A CARNIVAL NEAR VENICE Akin to variation 2. Practice it slow and build up speed. Nothing more than the theme with a compound voice in the upper register. 13 FUGUE Distinguish the two lines and it’ll be like playing two tubas simultaneously. Practice slow to learn to differentiate the two voices and it’ll be a dazzler. 14 FAREWELL A bittersweet mixture of bold thankfulness for the joyous discoveries and sadness for having to say goodbye. Be aggressive with the arpeggios for the harmony to resound.
$15.99
The Abduction of Persephone (for String Orchestra)
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Orchestre à Cordes
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INTERMÉDIAIRE
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Aaron Fonzi
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The Abduction of Persephone
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Aaron Fonzi
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SheetMusicPlus
String Orchestra - Level 3 - SKU: A0.998356 Composed by Aaron Fonzi. Children,Contemporary,Rock,Standards. Score and parts. 27 pages. Aaron Fonzi #33678...
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String Orchestra - Level 3 - SKU: A0.998356 Composed by Aaron Fonzi. Children,Contemporary,Rock,Standards. Score and parts. 27 pages. Aaron Fonzi #3367893. Published by Aaron Fonzi (A0.998356). This piece tells the epic story of Hades' abduction of his niece, Persephone. According to the legend, Hades came up through a crack in the ground and snatched the girl while she was playing. In the Underworld, he tried to seduce her in a variety of ways, but to no avail. Finally, Hades is said to have tricked her into staying by offering her a tempting pomegranate. As Persephone ate 6 seeds, she was to stay in the Underworld for six months each year. It is said that while Persphone is in the Underworld, the plants wither and die, and when she comes back to the surface she brings rebirth to growing things. This piece begins with playful pizzicato lines that build upon each other. These represent Persphone at play, but forebodes the dark forces that are encircling her. When the orchestra goes to arco, Persphone is being dragged into the Underworld. A mournful violin solo signifies her arrival, but this mournful theme is quickly replace by the devious seductions of Hades in the form of a humorous waltz. Finally, Hades offers the pomegranate to Persephone and she eats 6 seeds (represented by the six beats of the B major chord in measures 76 and 77). The main theme then takes over once again, modulating to F# minor to represent Hades' victory. With relentless energy, catchy ostinati and opportunities to work on shifting, pizzicato and arco throughout, this piece will not dissapoint for audiences and students alike. A FEW NOTES: 1. I'd recommend rehearsing the rhythms of recurring ostinati together- first pizzicato then arco. You may get creative and incorporate scales with these rhythms. However you do it, it'll be important that each ostinato is played with precision and confidence. 2. Have fun with the waltz section! It's meant to portray the strange, whimsical nature of Hades' attempts to woo Persephone, so the awkwardness in delivery is encouraged! 3. All ritardandos should be exaggerated for the sake of drama. 4. Encourage your drumset player to explore different ways of accompanying the orchestra- the drumset part is a blueprint, not definitive instructions. 5. Be sure to practice shifting into 2nd position for the modulation. I hope you and your students have a great time putting this epic piece together! I had a ton of fun writing it! ~Aaron Fonzi
$20.00
The Pink Panther: Baritone T.C.
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Saxhorn / bariton b.c. (partie séparée)
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Henry Mancini
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Mike Lewis
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The Pink Panther: Baritone T.C
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Jazz Ensemble - SKU: AX.00-PC-0017268_BTC1 Baritone T.C.. Composed by Henry Mancini. Arranged by Mike Lewis. Jazz; Movie. Part. 1 pages. Alfred M...
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Jazz Ensemble - SKU: AX.00-PC-0017268_BTC1 Baritone T.C.. Composed by Henry Mancini. Arranged by Mike Lewis. Jazz; Movie. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0017268_BTC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017268_BTC1). ISBN 9780757997624. UPC: 029156962598.Some tunes just live forever, and students always love to play them. PINK PANTHER is a perfect example. Arranger Mike Lewis gives the less experienced jazz groups an opportunity to play this all-time favorite. A few triplet and swing figures, along with a lot of unison scoring, make this a natural for young jazz ensembles. Give this chart a look! Very Easy (3:04).
$3.00
"Calisthenics for Treble/Alto Recorder" 15 Etudes, Gallops, Polkas, Variations
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Various
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B
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"Calisthenics for Treble/
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bl_music
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SheetMusicPlus
Small Ensemble Alto Recorder,Baritone Recorder,Flute - Level 3 - SKU: A0.842538 Composed by Various (Collection). Arranged by B. Brennan. Concert,Instru...
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Small Ensemble Alto Recorder,Baritone Recorder,Flute - Level 3 - SKU: A0.842538 Composed by Various (Collection). Arranged by B. Brennan. Concert,Instructional,Romantic Period,Standards. Score and parts. 24 pages. Bl_music #5290011. Published by bl_music (A0.842538). Calisthenics for Treble/Alto Recorder 15 Solo-Etudes, Gallops, Polkas, Variations (notation: treble clef) 15 entertaining solo-etudes: Rondos, Polkas, Gallops, Variations….. all suitable for intermediate to advanced students as well as professionals; as exercises for the fingers, just for the fun of it or as (shorter) concert /contest pieces or encores. What are Calisthenics? You’ve all come across them in one form or another….mainly probably in caricatures of Victorian or Edwardian men in boldly striped sportswear lifting heavy weights or Victorian ladies elegantly waving their arms around(see photo) We found the idea of daily exercises in combination with utterly lovely tunes so intriguing that we decided to call our latest publication Calisthenics The music combines training of speed, thumb technique, interpretation. Short: another great fun and educational publication. The word calisthenics is derived from the Greek, kalos, beautiful; and sthenos, strength; the object of calisthenic exercises being to secure physical beauty by developing the limbs and muscles of the human frame, and making the joints flexible, thereby giving strength and power, and ensuring a graceful carriage, erect bearing, and freedom to the figure. In the words of the old Victorians: The highest refinement of that beauty is unattainable without splendour of activity and delicate strength. Exercise is now recognised to be as great a necessity in woman's education as in man's we are learning that many bodily defects and much of her weak health is attributable to the want of it; more especially in youth, when the frame is growing. Such exercises must, however, be carried out under a system; irregularly conducted, they do more harm than good. The constitution must be coaxed, not strained; the strength not unduly taxed, no over-fatigue ensuing; for exhaustion makes people look worn and old. The exertion must not be too violent, and the health and physical development of each pupil must be specially studied. Early morning or evening are the best times to select, but on no account immediately after a meal. The clothing should not be too warm, nor interfere in any way with the action of the limbs. A musical accompaniment will best preserve the necessary rhythm - the time, four or eight beats to a bar; failing this, the pupils should be taught to sing or count in concert, thereby keeping up their interest and zest. A castanet will, failing better means, help to mark the time with or without music. One of our aims is to revive these compositions and bring them to the attention of players and audiences.
$15.99
"Calisthenics for Great Bass Recorder" 15 Etudes, Gallops, Polkas, Variations
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Various
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B
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"Calisthenics for Great B
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bl_music
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SheetMusicPlus
Small Ensemble Baritone Recorder,Bassoon - Level 3 - SKU: A0.842539 Composed by Various (Collection). Arranged by B. Brennan. Concert,Instructional,Roma...
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Small Ensemble Baritone Recorder,Bassoon - Level 3 - SKU: A0.842539 Composed by Various (Collection). Arranged by B. Brennan. Concert,Instructional,Romantic Period,Standards. Score and parts. 24 pages. Bl_music #5290017. Published by bl_music (A0.842539). Calisthenics for Great Bass Recorder 15 Solo-Etudes, Gallops, Polkas, Variations (notation: bass clef) 15 entertaining solo-etudes: Rondos, Polkas, Gallops, Variations….. all suitable for intermediate to advanced students as well as professionals; as exercises for the fingers, just for the fun of it or as (shorter) concert /contest pieces or encores. What are Calisthenics? You’ve all come across them in one form or another….mainly probably in caricatures of Victorian or Edwardian men in boldly striped sportswear lifting heavy weights or Victorian ladies elegantly waving their arms around(see photo) We found the idea of daily exercises in combination with utterly lovely tunes so intriguing that we decided to call our latest publication Calisthenics The music combines training of speed, thumb technique, interpretation. Short: another great fun and educational publication. The word calisthenics is derived from the Greek, kalos, beautiful; and sthenos, strength; the object of calisthenic exercises being to secure physical beauty by developing the limbs and muscles of the human frame, and making the joints flexible, thereby giving strength and power, and ensuring a graceful carriage, erect bearing, and freedom to the figure. In the words of the old Victorians: The highest refinement of that beauty is unattainable without splendour of activity and delicate strength. Exercise is now recognised to be as great a necessity in woman's education as in man's we are learning that many bodily defects and much of her weak health is attributable to the want of it; more especially in youth, when the frame is growing. Such exercises must, however, be carried out under a system; irregularly conducted, they do more harm than good. The constitution must be coaxed, not strained; the strength not unduly taxed, no over-fatigue ensuing; for exhaustion makes people look worn and old. The exertion must not be too violent, and the health and physical development of each pupil must be specially studied. Early morning or evening are the best times to select, but on no account immediately after a meal. The clothing should not be too warm, nor interfere in any way with the action of the limbs. A musical accompaniment will best preserve the necessary rhythm - the time, four or eight beats to a bar; failing this, the pupils should be taught to sing or count in concert, thereby keeping up their interest and zest. A castanet will, failing better means, help to mark the time with or without music. One of our aims is to revive these compositions and bring them to the attention of players and audiences.
$15.99
"Calisthenics for Bass Recorder" 15 Etudes, Gallops, Polkas, Variations
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Various
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B
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"Calisthenics for Bass Re
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bl_music
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SheetMusicPlus
Small Ensemble Baritone Recorder,Bassoon,Cello - Level 3 - SKU: A0.842536 Composed by Various (Collection). Arranged by B. Brennan. Concert,Instructiona...
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Small Ensemble Baritone Recorder,Bassoon,Cello - Level 3 - SKU: A0.842536 Composed by Various (Collection). Arranged by B. Brennan. Concert,Instructional,Romantic Period,Standards. Score and parts. 24 pages. Bl_music #5290001. Published by bl_music (A0.842536). Calisthenics for Bass Recorder 15 Solo-Etudes, Gallops, Polkas, Variations (notation: bass clef)15 entertaining solo-etudes: Rondos, Polkas, Gallops, Variations….. all suitable for intermediate to advanced students as well as professionals; as exercises for the fingers, just for the fun of it or as (shorter) concert /contest pieces or encores.What are Calisthenics?You’ve all come across them in one form or another….mainly probably in caricatures of Victorian or Edwardian men in boldly striped sportswear lifting heavy weights or Victorian ladies elegantly waving their arms around(see photo)We found the idea of daily exercises in combination with utterly lovely tunes so intriguing that we decided to call our latest publication CalisthenicsThe music combines training of speed, thumb technique, interpretation. Short: another great fun and educational publication.The word calisthenics is derived from the Greek, kalos, beautiful; and sthenos, strength; the object of calisthenic exercises being to secure physical beauty by developing the limbs and muscles of the human frame, and making the joints flexible, thereby giving strength and power, and ensuring a graceful carriage, erect bearing, and freedom to the figure.In the words of the old Victorians:The highest refinement of that beauty is unattainable without splendour of activity and delicate strength.Exercise is now recognised to be as great a necessity in woman's education as in man's we are learning that many bodily defects and much of her weak health is attributable to the want of it; more especially in youth, when the frame is growing.Such exercises must, however, be carried out under a system; irregularly conducted, they do more harm than good. The constitution must be coaxed, not strained; the strength not unduly taxed, no over-fatigue ensuing; for exhaustion makes people look worn and old. The exertion must not be too violent, and the health and physical development of each pupil must be specially studied.Early morning or evening are the best times to select, but on no account immediately after a meal. The clothing should not be too warm, nor interfere in any way with the action of the limbs.A musical accompaniment will best preserve the necessary rhythm - the time, four or eight beats to a bar; failing this, the pupils should be taught to sing or count in concert, thereby keeping up their interest and zest. A castanet will, failing better means, help to mark the time with or without music. One of our aims is to revive these compositions and bring them to the attention of players and audiences.
$15.99
"Calisthenics for Recorders in C" 15 Fun Studies,Gallops,Polkas,Variations
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Various
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B
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"Calisthenics for Recorde
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bl_music
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Clarinet,Flute,Oboe,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone - Level 3 - SKU: A0.8...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Clarinet,Flute,Oboe,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone - Level 3 - SKU: A0.842537 Composed by Various (Collection). Arranged by B. Brennan. Concert,Instructional,Romantic Period,Standards. Score and parts. 24 pages. Bl_music #5290007. Published by bl_music (A0.842537). Calisthenics for Recorders in C 15 Solo-Etudes, Gallops, Polkas, Variations (notation: treble clef) 15 entertaining solo-etudes: Rondos, Polkas, Gallops, Variations….. all suitable for intermediate to advanced students as well as professionals; as exercises for the fingers, just for the fun of it or as (shorter) concert /contest pieces or encores. What are Calisthenics? You’ve all come across them in one form or another….mainly probably in caricatures of Victorian or Edwardian men in boldly striped sportswear lifting heavy weights or Victorian ladies elegantly waving their arms around(see photo) We found the idea of daily exercises in combination with utterly lovely tunes so intriguing that we decided to call our latest publication Calisthenics The music combines training of speed, thumb technique, interpretation. Short: another great fun and educational publication. The word calisthenics is derived from the Greek, kalos, beautiful; and sthenos, strength; the object of calisthenic exercises being to secure physical beauty by developing the limbs and muscles of the human frame, and making the joints flexible, thereby giving strength and power, and ensuring a graceful carriage, erect bearing, and freedom to the figure. In the words of the old Victorians: The highest refinement of that beauty is unattainable without splendour of activity and delicate strength. Exercise is now recognised to be as great a necessity in woman's education as in man's we are learning that many bodily defects and much of her weak health is attributable to the want of it; more especially in youth, when the frame is growing. Such exercises must, however, be carried out under a system; irregularly conducted, they do more harm than good. The constitution must be coaxed, not strained; the strength not unduly taxed, no over-fatigue ensuing; for exhaustion makes people look worn and old. The exertion must not be too violent, and the health and physical development of each pupil must be specially studied. Early morning or evening are the best times to select, but on no account immediately after a meal. The clothing should not be too warm, nor interfere in any way with the action of the limbs. A musical accompaniment will best preserve the necessary rhythm - the time, four or eight beats to a bar; failing this, the pupils should be taught to sing or count in concert, thereby keeping up their interest and zest. A castanet will, failing better means, help to mark the time with or without music. One of our aims is to revive these compositions and bring them to the attention of players and audiences.
$15.99
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