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Vous avez sélectionné:
Open All Hours
Partitions à imprimer
6 partitions trouvées
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Open All Hours
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Ascher, Max Harris, Ronald Haz
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Derek Hasted
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Open All Hours
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Derek Hasted
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SheetMusicPlus
Guitar Ensemble Guitar - Level 2 - SKU: A0.797803 Composed by Ascher, Max Harris, Ronald Hazlehurst, and Ronnie Hazelhurst. Arranged by Derek Hasted. Co...
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Guitar Ensemble Guitar - Level 2 - SKU: A0.797803 Composed by Ascher, Max Harris, Ronald Hazlehurst, and Ronnie Hazelhurst. Arranged by Derek Hasted. Contemporary,Film/TV. Score and parts. 8 pages. Derek Hasted #6116231. Published by Derek Hasted (A0.797803). OPEN ALL HOURS (TV theme) - GUITAR TRIO or LARGE ENSEMBLEFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes This rather poignant little piece introduced the original TV series of “Open All Hours†starring Ronnie Barker and David Jason - a program which has since re-appeared to tell the same tale a generation further on.Set here for early intermediate Guitar Trio or for a large adult or child ensemble, this is an easy-to-play piece which makes for a relaxing interlude in a School or Adult concert and the simple yet haunting melody connects instantly with an audience.There are some fingerings on the middle part that are worth noting as the use of guide fingers here can make the chord transitions very much easier.I hope you enjoy playing this piece! This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.
$4.99
English Autumn
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James Marshall
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English Autumn
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James Marshall Music
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SheetMusicPlus
Small Ensemble,Strings Clarinet - Level 5 - SKU: A0.913624 Composed by James Marshall. Contemporary,Folk. Score and parts. 87 pages. James Marshall Musi...
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Small Ensemble,Strings Clarinet - Level 5 - SKU: A0.913624 Composed by James Marshall. Contemporary,Folk. Score and parts. 87 pages. James Marshall Music #6096869. Published by James Marshall Music (A0.913624). English Autumn was composed in Fall/Winter 2018-2019 for Clarinetist Allison Eales commissioned by the Gregynog . Scored for Clarinet in A and String Trio it reflects the collage of Autumn colors: Green, Yellow, Brown shades of first Autumn; Red, Orange of Autumn at its peak. It followed my English Sonatina for young clarinetists premiered by Alison Eales and Anna de Hair in London in January, 2019, and was premiered in London in October, 2019. This piece reflects the heightened emotions of fiery intensity reflected in the changing of the colors of the leaves in Autumn. Reflected as well is the serene beauty before the Autumn arrives, and the resignation of the eternal cycles of nature. The opening section (Andante) evokes the feeling of nostalgia and assurance of the inevitable cycle of nature. We know the life will go from the tress only to return again next season. We feel the joy of the intense colors of the foliage, and the sadness of the loss of life in winter. This section segues into Green (Adagio cantabile) with pastoral music and quotes of The Water is Wide and I pass all the hours in a shady grove of Pelham Humphrey. This leads into Red (Allegro con fuoco/Presto), followed by Orange (Declamando) as well as absence of color when the leaves all fall. I pass all the hours is a song by Pelham Humphrey with words by Charles II: I pass all the hours in a shady grove …When I see the print of her shape in the green…I think there’s no hell like loving too well, The melody is incorporated because it is the same melodic motif of the Scherzando movement of my English Sonatina for young clarinetists which Alison Eales and Anna de Hair premiered. I discovered it after composing that piece in researching English folk songs to refer to in this piece. It is an ideal segue into the Allegro con fuco/Presto music. The final section (Andante cantabile) is my personal melodic sequence from the rising motif of Over the hills and far away.
$19.99
She Works Hard For The Money
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Donna Summer
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Kathleen McGuire
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She Works Hard For The Money
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Kathleen McGuire
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SheetMusicPlus
B-Flat Trumpet,Bass Guitar,Drum Set,Electric Guitar,String Synthesizer,Tenor Saxophone - Level 3 - SKU: A0.1267220 By Donna Summer. By Donna Summer and ...
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B-Flat Trumpet,Bass Guitar,Drum Set,Electric Guitar,String Synthesizer,Tenor Saxophone - Level 3 - SKU: A0.1267220 By Donna Summer. By Donna Summer and Michael Omartian. Arranged by Kathleen McGuire. Disco. 44 pages. Kathleen McGuire #859859. Published by Kathleen McGuire (A0.1267220). SCORE AND SET OF PARTS TO ACCOMPANY THE WOMEN'S CHORAL ARRANGEMENTA Donna Summer hit from post-disco / new wave era (1983), She Works Hard for the Money is more than a fun pop piece. The song tells a story of a hard-working blue-collar woman, based on inspiration Summer found after the 25th Annual Grammy Awards ceremony (23 Feb 1983) when she attended an after-party. She encountered a restroom attendant named Onetta Johnson (whose name is mentioned in the song) whom she found sound asleep - despite a blaring TV - exhausted from working long hours.Summer related the story in an interview: I looked at her and my heart just filled up with compassion for this lady, and I thought to myself: God, she works hard for the money, cooped up in this stinky little room all night. Then I thought about it, and I said, She works hard for the money... She works hard for the money...This is it! This is it! I know this is it! The arrangement opens with an a cappella introduction in full harmony. The melody moves between the altos and sopranos, with each part otherwise providing rhythmic support (echoing the instrumental accompaniment). The sopranos divide into 3 parts occasionally, allowing some high voices (A-flat) to shine. There are no solos in this arrangement - your women all have opportunity to sing this powerful, true story that serves more broadly as an allegory for women's rights and socioeconomic hardship. The arrangement is a show-stopper, bound to get audiences clapping and even up out of their seats! Provided: Conductor's Score and Set of Band Parts: Trumpet in B-flat, Tenor Sax, Synth (Strings), Electric Guitar, Bass Guitar, Drum Set. Provided separately: SSAA Choral Arrangement - Piano Vocal Score.
$60.00
18/04/'21 A Reflection
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Contemporain
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Jeremy Hart
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18/04/'21 A Reflection
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Jeremy Graham Hart
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SheetMusicPlus
Small Ensemble B-Flat Bass Clarinet,Percussion,Soprano voice - Level 4 - SKU: A0.1102258 Composed by Jeremy Hart. 20th Century. Score and parts. 13 page...
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Small Ensemble B-Flat Bass Clarinet,Percussion,Soprano voice - Level 4 - SKU: A0.1102258 Composed by Jeremy Hart. 20th Century. Score and parts. 13 pages. Jeremy Graham Hart #705661. Published by Jeremy Graham Hart (A0.1102258). 18/04/’21: A Reflection is written as a tentative expression of the tumultuous emotions experienced by the composer, upon watching so many landmarks of their home be threatened or destroyed by the fire which ravaged Table Mountain on the 18th and 19th of April 2021. The most impactful symbol of this tragedy is, for the composer, the heart-rending body of images showing the Jagger Reading Room ablaze. The score expresses the composer’s experiences in a collage, drawing from C. Debussy’s La Cathedral Engloutie and W. A. Mozart’s Requiem in evocation of the emotions surrounding the burning library, and enacts them in a three-part narrative. The opening is articulated as a collection of sporadic outbursts heard against a slower melody and a rising bell motif. This is an evocation of the shifting uncertainty of the early hours of the fire shortly after it had consumed the Rhodes Memorial Restaurant. This slowly becomes the evocation of horror and dismay that characterises the second section, as the fire takes hold of Mostert’s Mill, various parts of the University of Cape Town forcing students into a full evacuation of their residences, and eventually the Jagger Reading Room. The finality of the second section’s ending is followed by the muted resignation and mourning of the third and final section. The slowed melody from the first section returns, without the frenetic outbursts. All the listener is left with is the certainty of what has happened. The melody tries to rise to triumph, as the fire is held back from any further destruction, but ultimately falls back down and limps its way to an unsatisfactory and inconclusive closing statement.
$14.95
Playing with Scales
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Richard Hirsch
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Playing with Scales
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Richard Hirsch
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SheetMusicPlus
Guitar - Level 2 - SKU: A0.1314698 Composed by Richard Hirsch. Instructional. Educational Exercises. 8 pages. Richard Hirsch #903442. Published by Richa...
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Guitar - Level 2 - SKU: A0.1314698 Composed by Richard Hirsch. Instructional. Educational Exercises. 8 pages. Richard Hirsch #903442. Published by Richard Hirsch (A0.1314698). Many amateur guitarists and beginning students of guitar are ‘stuck in the first position’. The rest of the fretboard is ‘terra incognita’. They don’t know where the notes are and they don’t know how to get to them and use them in playing melodies. To help remedy this situation, I offer a collection of scales and exercises I have developed over the years that have helped me master the fretboard of the guitar and that I have used to warm up my left and right hands before practicing or playing proper pieces. Guitarists afraid to move up the fretboard miss out on all the tonal nuances that the guitar has to offer. They also often have undeveloped left hand technique with a little finger that flies around helplessly and uselessly. These scales and exercises will, if played regularly, put the little finger to good use and guide the left hand to orient to the fretboard properly, staying close to the fretboard with fingers that move as little and as efficiently as possible. They are also relaxing and fun to play around with. I read somewhere a while back that medical science had found that pianists were less likely to develop brain diseases. The scientists attributed this to the many hours pianists spend playing scales, as this is like a gentle brain massage. So scales are not only good warm up exercises for the fingers but also good warm-ups for the brain.The scale exercises written here in the keys of G and C should be played in different keys in higher positions on the fretboard. Students can try to see just how far up the neck they can go to reach the highest notes. After a while, what seemed challenging and strange will start to feel comfortable and familiar. Don’t hesitate to develop new variants of the scales when you grow tired of playing them as I propose here. Have fun playing and playing with the scales!The exercises often start in one position and move toward other higher or lower positions on the fretboard. When moving from one position to another, follow the suggested fingerings to utilise what is called a lead finger to move the hand to the next position. This will make the movement smooth and not interrupt the flow of the scale. In the end all movement should look and feel seamless and effortless.I have chosen scales in major keys I think are particularly good to play on the guitar. To practice a scale in a minor key, start the exercise in the related major key from the fundamental of the minor key, for example, to play an E minor scale start the G major exercise on an E and play from there. This is one way of creating new variants of these scales. Another way to vary the exercises is to play the scales in different time signatures or rhythms.I believe these exercises are particularly helpful for amateur guitarists who play in ensembles of different kinds, duos, trios, quartets, where the guitarist often only has one melodic line to play. Such melodies often sound much better played in higher positions where the guitar can be made to sing, rather than in the first position where the same tones, especially on open strings, often sound rather dull. From my own experience, I find that when I play a melody in a higher position using all the fingers of the left hand, the melody not only sounds better, the fingers remember the melody better.Â
$4.99
Nessie Wakes - A Celtic Quartet
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Celtique/Irlandais
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Susan Kaye Welden
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Nessie Wakes
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Nessie Wakes - A Celtic Quarte
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Susan Welden Music
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SheetMusicPlus
Small Ensemble Cello,Drums,Flute,Violin - Level 4 - SKU: A0.1032032 Composed by Susan Kaye Welden. Celtic. Score and parts. 15 pages. Susan Welden Music...
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Small Ensemble Cello,Drums,Flute,Violin - Level 4 - SKU: A0.1032032 Composed by Susan Kaye Welden. Celtic. Score and parts. 15 pages. Susan Welden Music #4317813. Published by Susan Welden Music (A0.1032032). A celtic quartet for flute, violin, cello, and bodrhan or opt. floor tom. Nessie Wakes premiered as an award winning composition in the 2018 Valley City State University Composer's Competition. Nessie Wakes demonstrates the tranquility found in the fog covered waters of Loch Ness as Nessie wakes in the opening of this piece. The driving beat of the middle section depicts Nessie as she dances in the dark waters throughout the day and ends with the return of the fog covered waters as she retires for the evening hours. .
$19.95
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