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From My First Moment
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1
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10
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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
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Vous avez sélectionné:
From My First Moment
Partitions à imprimer
10 partitions trouvées
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6 Simple Songs To Sing & Play On The Guitar including House Of The Rising Sun, Sloop John B
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Contemporain
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Traditional
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Simon James
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6 Simple Songs To Sing & P
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DML
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SheetMusicPlus
Guitar,Instrumental Duet,Voice - Level 2 - SKU: A0.1281240 Composed by Traditional. Arranged by Simon James. Classical,Contemporary,Folk,Historic,Tradit...
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Guitar,Instrumental Duet,Voice - Level 2 - SKU: A0.1281240 Composed by Traditional. Arranged by Simon James. Classical,Contemporary,Folk,Historic,Traditional. 36 pages. DML #872584. Published by DML (A0.1281240). Songs are about storytelling, sometimes the emotions of a moment, happy or sad, sometimes an entire life in three verses and a chorus. These songs I chose because I like them, some I learnt from my first real guitar teacher, Dylan Todd, at the Guitar Centre in Palma de Mallorca in the late sixties when my family lived there; some from my father who was my other first guitar teacher; some down the years from other musicians. I have kept the accompaniments as simple as possible to go with my book The Art Of Accompaniment On The Guitar, most guitarists could handle them. I have also annotated everything, knowing the history of a song is important and as we increasingly lose the oral tradition I was brought up with the reason I chose certain verses and not others becomes relevant to that understanding. This is a simpler publication than the printed one available from Amazon. All of these songs are out of copyright, those that are in copyright that I would include and have arranged can be found individually through Sheet Music Plus or Sheet Music Direct.
$11.99
La Patria
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Ciro Hernández
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La Patria
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Ciro Hernández
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SheetMusicPlus
Cello,Double Bass,Guitar - Level 4 - SKU: A0.1409106 Composed by Ciro Hernández. 21st Century,Celtic,Contest,Festival,Folk,Irish,Multicultural,World....
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Cello,Double Bass,Guitar - Level 4 - SKU: A0.1409106 Composed by Ciro Hernández. 21st Century,Celtic,Contest,Festival,Folk,Irish,Multicultural,World. 11 pages. Ciro Hernández #991713. Published by Ciro Hernández (A0.1409106). This piece originally written for cello, guitar and Timple (traditional instrument from the Canary Islands) is on my first solo album, you can also listen to it on Spotify. Television was interested in my work and I have posted the link of my performance in the program. A work based on the poem by poet Mercedes Pinto and whose idea was to merge the sound of the cello with the timple. It fuses styles, character and folklore. Anyone born in the Canary Islands will not miss the traditional sound in some moments (as in part C).
$12.50
Stabat Mater - string ensemble parts
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Contemporain
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Annemieke Lustenhouwer
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Stabat Mater - string ensemble
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Annemieke Lustenhouwer
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SheetMusicPlus
Small Ensemble - Level 4 - SKU: A0.1195919 Composed by Annemieke Lustenhouwer. Contemporary. Score and parts. 80 pages. Annemieke Lustenhouwer #795094. ...
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Small Ensemble - Level 4 - SKU: A0.1195919 Composed by Annemieke Lustenhouwer. Contemporary. Score and parts. 80 pages. Annemieke Lustenhouwer #795094. Published by Annemieke Lustenhouwer (A0.1195919). What happens when you close your eyes and you see yourself standing next to Mother Mary when Jesus dies? What do you see and what do you feel? That was what I’ve been asking myself for years when I read the text Stabat Mater. This composition tells about this experience and this questions. Sometimes a motif tells quite literally about this story, like the moment when Jesus is nailed down the cross: first the right hand, then the left hand and finaly with one nail both feet. In the first part of the composition, the viola tells with sforzato accents about this.This Stabat Mater is not only an expression of the pain of the Virgin Mother, but is also a tribute to JS Bach as well. Bach is by some seen as a fith evangelist. Nowadays there are still a lot of people who are affected by how his music tells about biblical stories, like I am. In this Stabat Mater I use the number 5 to express that: the first part is written in 5/4th and the last part Quando corpus et Amen is written with 5 parts in the choir. There can also be found a reworked choral in the choir passages of  O quam tristis et afflicta. It is the choral Wie nahe mir mein Ende from BWV 166.Polyfony is a returning presence in this Stabat Mater. I had an visual idea about this. When I was young I saw in an exhibition a tapestry with all kinds of colours and threads, and everything felt in motion. It was a kind of organized mess, but it was beautiful and felt perfect. I wondered if I could manage to express this idea in music as well. Under one of the polyphonic passages there is a Latin-American dance rhythm to express that motion. I heard that rhythm in my childhood in a rhythmbox of the keyboard of my dad. Another passage has the baroque sarabande-rhythme underneath in the double bass.A lullaby-feeling in some parts of the Stabat Mater tells about another story that got intertwined with this composition. It’s the story of a mother who rocks her terminal dying little son in her arms. I once read that story and it felt connected with the Stabat Mater text for a long time. I decided to express that as well.This composition is dedicated to the Dutch conductor Geert van den Dungen. However I saw many conductors, while playing the oboe and clarinet from a young age, there was nobody who let me think very deeply about music. Geert was the one who changed that for me. I started to study scores and developed a great interest in music analysis and music psychology. Many moments of inspiration and understanding for this Stabat Mater happened on choir rehearsals and concerts where Geert was working. I am very grateful for that.String parts only, see for conductors/ choir score Sheet Music plus and Sheet music direct.
$19.00
Epilogue
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Ali Hanna, Madison Julius Cawe
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Epilogue
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Ali Hanna
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SheetMusicPlus
B-Flat Clarinet,Medium Voice,Piano Accompaniment - Level 3 - SKU: A0.1264319 Composed by Ali Hanna, Madison Julius Cawein, and Mark Twain. 21st Century,...
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B-Flat Clarinet,Medium Voice,Piano Accompaniment - Level 3 - SKU: A0.1264319 Composed by Ali Hanna, Madison Julius Cawein, and Mark Twain. 21st Century,Contemporary. 6 pages. Ali Hanna #857172. Published by Ali Hanna (A0.1264319). I wrote this piece as an epilogue (pun definitely intended) to a traumatic religious event that took place in February 2023. I won't go into details so I don't risk triggering anyone, but let's just say it was a lot. This is also the first piece I've written where the text isn't my own because my composition professor at the time challenged me to do so.The text of the first half of the piece comes from Mark Twain's poem Warm Summer Sun. It's intended to be an acceptance of the fact that the singer isn't the same person they once were. As the poem repeats, the singer begins to say goodbye to their old self and lay them to rest.The text of the second half of the piece comes from Madison Julius Cawein's poem Take Heart. I see this part as someone in the singer's life giving them hope to keep on living, and who that entity is can be interpreted in a number of ways. For me, it was the friends and professors around me that helped me keep going. I didn't talk to many people about what happened, but just seeing everyone's faces every day taught me that if they can continue living their lives, then so can I.I ended up adding the clarinet part after a moment of inspiration during my trip to the ICA ClarinetFest 2023 in Denver, Colorado. Voice and clarinet are my two passions, so I thought I would use Epilogue to put them together. This piece has yet to be premiered in its current form, but I hope to someday. If you would like to premiere it, please email me at alisonhanna29@gmail.com.
$10.00
Beyond the Rainbow Bridge - backing track
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David Kai
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David Kai
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Beyond the Rainbow Bridge - ba
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David Kai
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SheetMusicPlus
String Ensemble Drum Set,Electric Bass Guitar,Piano Accompaniment - Level 3 - SKU: A0.1105087 By David Kai. By David Kai. Arranged by David Kai. Christi...
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String Ensemble Drum Set,Electric Bass Guitar,Piano Accompaniment - Level 3 - SKU: A0.1105087 By David Kai. By David Kai. Arranged by David Kai. Christian,Contemporary,Country,Rock. Accompaniment. Duration 221. David Kai #708333. Published by David Kai (A0.1105087). A song for those grieving the loss of a pet, especially those whose pets support them through issues such as PTSD and depression. The death of a pet is certainly one the most difficult things that pet lovers experience. Pets offer us companionship, affection and healing, but their relatively short lifespan means that we will experience this loss many times in our lives. Many of us take comfort in the idea of a rainbow bridge that our pets cross when they die, and that we too will cross to be united with our pets. This song expresses the grief that we experience with the death of a pet, but also the hope that we will be reunited with them one day. This version of the song is a backing track for a soloist. BEYOND THE RAINBOW BRIDGE by David Kai ©2019 The day that I first met you, I held you in the palm of my hand And from that moment onward I knew that we would be the best of friends And though you started as a Christmas gift to set beneath the tree You know you really were a gift from God to me. We walked through fields and forests, we’d hit the trail in sun and wind and rain When I was at my lowest, you licked my hand and raised me up again But time passed much too quickly, and you know just what you did You took a piece of my broken heart beyond the rainbow bridge. I’m not sure what heaven’s like , I’m not sure how things will be But if we won’t be together, it won’t feel like heaven to me But if the Lord be willing, I’ll hear your welcome bark again, And see you running to me, through the golden fields of grain Most faithful of companions, you’d been with me in sickness and in health You always loved to see me, even when I couldn’t really love myself And when you licked my hand that one last time, then you know just what you did You took a piece of my broken heart beyond the rainbow bridge. You took a piece of my broken heart beyond the rainbow bridge.
$1.99
Komm, Jesu, Komm for Trombone or Low Brass Octet
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Classique
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Eric Burger Music
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Komm, Jesu, Komm for Trombone
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Eric Burger Music
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SheetMusicPlus
Brass Ensemble,Chamber Orchestra Euphonium,Trombone,Tuba - Level 5 - SKU: A0.508209 Arranged by Eric Burger Music. Baroque. Score and parts. 40 pages. E...
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Brass Ensemble,Chamber Orchestra Euphonium,Trombone,Tuba - Level 5 - SKU: A0.508209 Arranged by Eric Burger Music. Baroque. Score and parts. 40 pages. Eric Burger Music #3514925. Published by Eric Burger Music (A0.508209). Come, Jesus, Come - BWV 229, Liepzig (1731) It was composed in Leipzig, and received its first performance by 1731–1732. Bach scored the motet for double choir. It was probably composed for a funeral, as others of his motets but exact dates of composition and performance are not known. It is his only motet without biblical text. He set a poem by Paul Thymich, which Johann Schelle set as a funeral aria in 1684. Also unusually, the motet is not closed by a chorale, but by an aria which is harmonized like a chorale. The work has been described as having a confident, intimate and tender character, and making more use of polychorality (interplay of the two choirs) than polyphony (interplay of the voices), containing no fugue. The theme of the text is death as the happy moment when man, tired of earthly life, can confide in Jesus, who is seen as Truth and Life and the only way to eternal life. (From Wikipedia) View the score with playback at:https://youtu.be/iOjStrr-vO8 This quality work is published by Eric Burger Music: www.EricBurgerMusic.com Each of these Trombone and Low Brass Ensemble works is arranged and transcribed with the intent of provide the musician with an opportunity to play works from notable composers otherwise not available to them, using the construct and voicings the compose intended. Please review the video for questions on range and difficulty, or go to my website and download the spreadsheet with ranges, keys, tempos and other important information. If you need parts modified to different clefs or keys, please write me direct at: EricBurgerMusic@gmail.com Custom work also available. If you are unhappy with any of my works, write me directly for a replacement.
$15.00
Do That To Me One More Time
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Rock
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Captain & Tennille
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Derek Hasted
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Do That To Me One More Time
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Derek Hasted
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SheetMusicPlus
Instrumental Duet Guitar,Instrumental Duet - Level 3 - SKU: A0.797814 By Captain & Tennille. By Toni Tennille. Arranged by Derek Hasted. Pop,Rock. Score...
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Instrumental Duet Guitar,Instrumental Duet - Level 3 - SKU: A0.797814 By Captain & Tennille. By Toni Tennille. Arranged by Derek Hasted. Pop,Rock. Score and parts. 13 pages. Derek Hasted #6306437. Published by Derek Hasted (A0.797814). DO THAT TO ME ONE MORE TIME - GUITAR DUETFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes This fantastic melody deserves more fame than it gets, though when it first came out it was Captain and Tennille’s second No 1 hit on the Billboard Hot 100 chart.My arrangement captures the three verses that feature in this piece, and also contains the instrumental break (originally on the lyricon), with most of the ornamentation (except for the big bends that the lyricon can do electronically).This arrangement is set in the same keys as the original, and modulates from C to G (for the instrumental) and then to D.The accompaniment fits nicely on guitar, and it’s ideal for an intermediate duo. With the exception of the instrumental break, which is taken by Guitar 1, neither guitar part comes out of first position all that much, and both parts use familiar chord shapes, whichever key the piece is in at that moment...The roles of tune and accompaniment change over at each verse, so there’s plenty of variety for the players and audience alike.This is one of those pieces that a concert audience will be humming all the way home...I hope you enjoy playing this piece!
$4.99
Spanish Flea
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Herb Alpert & The Tijuana Bras
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Derek Hasted
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Spanish Flea
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Derek Hasted
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SheetMusicPlus
Guitar Ensemble Guitar - Level 2 - SKU: A0.1040561 By Herb Alpert & The Tijuana Brass. By Julius Wechter. Arranged by Derek Hasted. Latin,Pop. Score and...
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Guitar Ensemble Guitar - Level 2 - SKU: A0.1040561 By Herb Alpert & The Tijuana Brass. By Julius Wechter. Arranged by Derek Hasted. Latin,Pop. Score and parts. 13 pages. Derek Hasted #645357. Published by Derek Hasted (A0.1040561). SPANISH FLEA (Tijuana Brass) - 3 GUITARS OR LARGE ENSEMBLEFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes This upbeat little number is a blast from the past!My arrangement contains all the sections of the original plus a little drum effect at the start and the end.Guitar 3 plays the bass line, and Guitars 1 and 2 share the tune, swapping roles as the piece progresses. It can be played in the first and second positions. There are no fingerings because more experienced players may want to take the top two parts further up the neck - there is nothing worse in performance than having the wrong fingering staring up at you from the page!Feel free to add dynamics to make the performance “yoursâ€. It makes a fun moment in any adult or school concert with its infectious rhythm. I hope you enjoy this piece!
$4.99
If Not Now, When?
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Contemporain
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Chris Gordon
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If Not Now, When?
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Cool Wind Music Digital
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SheetMusicPlus
Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - SKU: A0.841258 Composed by Chris Gordon. 20th Century. Score and parts. 39 pa...
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Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - SKU: A0.841258 Composed by Chris Gordon. 20th Century. Score and parts. 39 pages. Cool Wind Music Digital #3056419. Published by Cool Wind Music Digital (A0.841258). Full set of parts: Please contact Chris Gordon at the email address on the first page of music for details.IF NOT NOW, WHEN? If Not Now, When? gets its title from the novel by Primo Levi, the Italian author who both survived life in Auschwitz and fought the continued German military presence in Italy with the Resistance after the Italian surrender to the Allies in September 1943. Levi meant that revolution and the overthrow of tyranny should never be 'put off until tomorrow'. If you believe you are on the side of right, then 'seize the day'- tomorrow may be too late. The inspiration for INNW? grew from research I was doing into an early song by Alban Berg called An Leukon which Berg wrote in 1907 while a student of Arnold Schoenberg. In delving into the kind of world which Berg inhabited in the Vienna of 100 years ago, I was fascinated by the café culture* which played a pivotal role in the lives of most artists: not only composers, but also writers, painters, architects and journalists. They swirled around the fashionable 'watering holes' sucking up current thoughts and ideas, high on Viennese coffee, cigar smoke and idealism! I envisaged a play which tried to encapsulate all this and wrote a few scenes with characters such as Schoenberg, Berg, Webern, Steuermann, Pisk, Kraus, Gropius and Altenberg heatedly discussing music, art and poetry over large cups of milky coffee. This grew into the framework for INNW? which, to paraphrase Pirandello's play about characters seeking an author, is a 'play without words in several scenes'. The piece is organised into 8 short movements or 'scenes' showing the 'Schoenberg cirle' sharing their radical and daring ideas and the shock or delight (or both simultaneously) with which those ideas are greeted. The first, which happens to be the longest, is rooted in conventional tonality. It begins with a fanfare in D flat major ('aux armes, citoyens!'), then seeks a 'freer' tonality by means of the 'emancipation of the semitone' only to capitulate in the central section and, finally, to 'fall back to earth' by winding down in G sharp minor. These 'scenes' are not meant to represent particular composers. They are, however, meant to represent the kinds of directions in which music could progress, given the 'breakdown' or 'stretching to its limits' of traditional harmony which had occurred in the previous 10 to 20 years. So many ways forward were promulgated, with one after another extraordinary, and often unexpected, futuristic musical panoramas glimpsed momentarily. My aim is to demonstrate which directions they decided they could head in having cleared the 'overgrown' path before them. * I even discovered that, around this time, in the Café Central, a certain Leon (Lev) Bronstein, otherwise known as Leon Trotsky, banished by the Okhrana (Imperial secrect police) from his native Russia, would spend all day in a back room playing chess. How delicious, I thought, if Schoenberg had ever brushed passed Trotsky or, indeed, had ever spoken to him: the one planning political and the other musical revolution!
$25.00
Kommos (Lamentation) / "When the World Moved On" - Timpani
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
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SheetMusicPlus
Percussion Solo,Timpani - Level 4 - SKU: A0.1018954 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 1 pages. Benjamin Sajo ...
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Percussion Solo,Timpani - Level 4 - SKU: A0.1018954 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 1 pages. Benjamin Sajo #6078699. Published by Benjamin Sajo (A0.1018954). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles. The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners. Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
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From My First Moment
