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The Little Lady Here
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--INSTRUMENTS--
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ALTO
AUTOHARPE
BANJO
BASSE
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Vous avez sélectionné:
The Little Lady Here
SheetMusicPlus
Partitions à imprimer
8 partitions trouvées
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1
The Little Lady Here
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Fred Frabotta
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The Little Lady Here
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Fred Frabotta
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SheetMusicPlus
Vocal Solo,Voice - Level 4 - SKU: A0.1029355 Composed by Fred Frabotta. Concert,Opera. 4 pages. Fred Frabotta #4832531. Published by Fred Frabotta (A0.1...
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Vocal Solo,Voice - Level 4 - SKU: A0.1029355 Composed by Fred Frabotta. Concert,Opera. 4 pages. Fred Frabotta #4832531. Published by Fred Frabotta (A0.1029355). The Little Lady Here is an aria from Paradise Point, an opera written by Fred Frabotta. It's a dramatic aria (in English) for a tenor and it's especially appropriate for auditions. The range is E3 to A4. The arrangement is for tenor voice and piano. It's about 2 minutes in length. For more information about the production of Paradise Point or other compositions by Fred Frabotta, the email is fredfrabotta@gmail.com.
$4.99
Under The Sea
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Film/TV
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Alan Menken
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Sarah Cellobat Chaffee
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Under The Sea
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Sarah Cellobat Chaffee
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SheetMusicPlus
String Ensemble Cello - Level 4 - SKU: A0.526334 Composed by Alan Menken. Arranged by Sarah Cellobat Chaffee. Film/TV,Pop. 17 pages. Sarah Cellobat Chaf...
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String Ensemble Cello - Level 4 - SKU: A0.526334 Composed by Alan Menken. Arranged by Sarah Cellobat Chaffee. Film/TV,Pop. 17 pages. Sarah Cellobat Chaffee #6504249. Published by Sarah Cellobat Chaffee (A0.526334). *INSTRUMENTATION: 4 CELLOS*There's not much that needs to be said about Under The Sea -- this peppy, upbeat, calypso-inspired tune from The Little Mermaid has been ubiquitously known, universally recognized, and one of everyone's favorite Disney tunes ever since its release in 1989! This arrangement for 4 cellos maintains the fun syncopated beat, layered harmonies, and back-and-forth melodic lines of the original for a chart that's just as much fun to play as it is to listen to! No part here is boring -- all four cello parts get a variety of fun things to play throughout the song. Rated advanced-intermediate for some tricky rhythms throughout, but this will be learnable for students and easily sightreadable for professionals. Sarah “Cellobat†Chaffee is an in-demand acoustic & electric cellist and string arranger. Currently, she performs with legendary rock band Aerosmith in their “Deuces Are Wild†residency show, and she is the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays with many other groups including Premiere Wedding Music, Bella Electric Strings, the Femmes Of Rock, and David Perrico’s Pop Strings Orchestra. Sarah has performed and recorded with numerous other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Michael Bublé, Sarah Brightman, and Lady A. She is the exclusive arranger for a number of award-winning wedding and event companies all across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles all over the world. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobat
$16.99
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
Folk Songs For Classical Guitar - Volume 21 (Songs 541-567)
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Traditional/Anonymous
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Socrates Arvanitakis
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Folk Songs For Classical Guita
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Socrates Arvanitakis
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SheetMusicPlus
Acoustic Guitar,Instrumental Solo - Level 3 - SKU: A0.1159305 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Classical,Early Music...
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Acoustic Guitar,Instrumental Solo - Level 3 - SKU: A0.1159305 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Classical,Early Music,Folk,Traditional. Individual part. 44 pages. Socrates Arvanitakis #759577. Published by Socrates Arvanitakis (A0.1159305). This is the twenty-first volume of an extensive collection of folk songs arranged for the classical guitar mostly in two-part counterpoint. The arrangements are of moderate difficulty and the aims of this publication are to familiarise, entertain and educate guitarists (and other musicians) with a melodic repertoire of lasting aesthetic value, under the light of contrapuntal treatment. The thirty five volumes of this collection can certainly be printed on paper if so desired and there are a few pages in each volume, either blank or with photographs of various musicians, which can be inserted at will in any place for the correct ordering of left and right hand pages so that page turns can be avoided. The principle of avoiding page turns has been maintained in all volumes, but this edition is also designed with mobile electronic devices in mind such as tablets etc, using the environment and facilities of a score reading application, towards a paperless world, at least in music. Therefore the size of the staves is bigger than usual for ease of reading on a small screen but not big enough to exceed the limit of a two-page view. Active internal links for navigating from thematic indexes to particular songs and back to indexes have been added, and also external internet links to sites that give further information for the 945 songs of this first collection for classical guitar.Volume 21 (Songs 541-567)Little Lowland Maid (the)Little Musgrave and Lady Barnard (1)Little Mushiegrove (2)Little Red BirdLittle Red Wagon (the)Little Sir HughLittle Young Lambs (the)Liverpool JudiesLlangollen MarketLlantwit MajorLocks and BoltsLogie o’ BuchanLone PilgrimLonely and far awayLord BatemanLord GregoryLord Henry and Lady Margaret (young hunting)Lord Lovell 1Lord Lovell 2Lord Lovell 3Lord Ronald My SonLord Thomas and Fair EleanorLost Lady Found  (the)Lovely Joan (1)Lovely Joan (2)Lovely on the WaterLovers’ Tasks (the)
$25.00
I Saw My Lady Weeping for voice, guitar and cello
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Renaissance
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Thomas Morley
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Simon James
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I Saw My Lady Weeping for voic
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DML
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SheetMusicPlus
Small Ensemble Cello,Guitar,Voice - Level 4 - SKU: A0.928276 Composed by Thomas Morley. Arranged by Simon James. Renaissance. Score and parts. 15 pages....
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Small Ensemble Cello,Guitar,Voice - Level 4 - SKU: A0.928276 Composed by Thomas Morley. Arranged by Simon James. Renaissance. Score and parts. 15 pages. DML #6866075. Published by DML (A0.928276). No 5 - I Saw My Lady WeepingTaken from Thomas Morley's First Book Of Ayres. This is the first verse of a well known Elizabethan poem (anon) which was also set by John Dowland with the slightly different title of I Saw My Lady Weep. Dowland set all three verses whereas Morley only the first, I have given the other two in the notes within the score for information. The song is through composed with the last two lines repeated, not uncommon at that time, and has quite an elaborate texture making it more challenging to play. Morley’s description of the publication was: Little short songs to sing and play to the lute with the base viole. I have substituted guitar for lute and cello for bass viole, chords have been re-voiced in places to better suit the guitar but no alteration has been made to the harmony. .
$5.99
Mysterious Moment for oboe and string trio
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Contemporain
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David Warin Solomons
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Mysterious Moment for oboe and
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David Warin Solomons
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SheetMusicPlus
Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages....
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Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #90581. Published by David Warin Solomons (A0.576733). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00
"Three Labe Sonnets" for mezzo-soprano and piano
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Contemporain
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Jason A
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"Three Labe Sonnets"
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Call of the Wild Publishing
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SheetMusicPlus
Small Ensemble Piano,Vocal,Voice - Level 5 - SKU: A0.978194 Composed by Jason A. Heald. Contemporary. Score. 16 pages. Call of the Wild Publishing #6265...
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Small Ensemble Piano,Vocal,Voice - Level 5 - SKU: A0.978194 Composed by Jason A. Heald. Contemporary. Score. 16 pages. Call of the Wild Publishing #6265333. Published by Call of the Wild Publishing (A0.978194). THREE LABE SONNETS for mezzo-soprano and piano is a collection of settings by Louise Labé, (1520-1566), a female French Renaissance poet. Labé was fluent in Latin and Italian, and a trained musician. She wrote twenty-four sonnets. TRANSLATION Sonnet VIII - I Live, I Die I live, I die, I burn with fire, I drown. It matters very little what I feel; All life is now too real, now too surreal; Joy comes and endless boredom weighs me down, And suddenly I laugh and then I cry; With grief and bliss I’m weeping for the past; Good feelings go away and yet they last, And suddenly I bleed and then I sigh. That’s how it goes. Strange, ever changing love Has worn me out. I wish I were removed From such a star-crossed fate! I need a truce With Lady Luck. Again and yet again, Her wheel is spinning madly to produce This wanton, wild, intense, exquisite pain. Sonnet XVIII - O Kiss Me O kiss me, kiss me, re-kiss me, and kiss! Be reckless, impudent, hot-headed, bold! O woo me! Pursue me! Kiss me like this: And I’ll give back fifty as hot as red coals. There, is it hurting? Come, let’s soothe the pain. I’ll give you sixty others just like these. And so we’ll kiss again and then again, While we enjoy each other at our ease. I know there’s fire within your unshaped clay, And so, allow me, love, to share my happiness: O let’s make burning passion rule today. I’m fond of doing what I love to do, Yet cannot feel supreme delight unless I have my other wild encounters, too. Sonnet XIV - As Long As Tears As long as tears can well up in my eyes I’m saddened that our nights are marked by pain. And now my voice expresses once again A plaintive melody I’ve improvised. As long as I can pluck the lute, I try To sing about your charms in my refrain. As long as I can think, my fevered brain Is burning with an ardent zeal. I cry And cry a hundred thousand times for you. But when I feel my whirling thoughts grow still, And when both hand and voice won’t work their will, Because your treachery is piercing through My heart, I’ll know there’s just one final way. I’ll ask for Death to darken that bleak day.
$4.50
Pretty how town for chamber orchestra
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Contemporain
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David Warin Solomons
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Colin Bayliss
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Pretty how town for chamber or
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David Warin Solomons
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SheetMusicPlus
Small Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Oboe,Viola,Violin - Level 4 - SKU: A0.575857 Composed by David Warin Solomons. Arranged by Colin...
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Small Ensemble Bassoon,Cello,Clarinet,Double Bass,Flute,Oboe,Viola,Violin - Level 4 - SKU: A0.575857 Composed by David Warin Solomons. Arranged by Colin Bayliss. 20th Century. Score and parts. 23 pages. David Warin Solomons #2028845. Published by David Warin Solomons (A0.575857). This is from a suite of pieces written variously for recorder orchestra and for chamber orchestra The five movements are: 1 Meinau Rag 2 An Amble round Mercury 3 Pretty How Town 4 Landscape before sunrise 5 Little Laser Lady Each movement has its own story and reflects various places where the composer has lived or poems that have inspired him: Meinau Rag was written in honour of his 8 month stay in La Meinau, a suburb of Strasbourg, while teaching English at the nearby Hotellery School - it was one of several ragtimes, a style he experimented with on the guitar at that time. An Amble round Mercury refers to the pond and associated statue of Mercury in the centre of Tom Quad at his college, Christ Church Oxford. The ostinato theme is one that he has used on many pieces and was originally written to accompany a setting from the Book of Elijah - and in that day thou shalt say O Lord - in his college days. Pretty How Town, a perky and rhythmically complex piece, is based on the poem - anyone lived in a pretty how town by e.e.cummings. The more laid back Landscape before sunrise is based on a setting of many ways in which the world says Goodnight and is inspired by the view from the composer's 18th floor flat in Aldgate East overlooking a multicultural population. The rhythms of the original song Goodnight follow the phrases in each language: Good Night, buona notte, gute Nacht, kali nykhta, oyasumi nasai, nos da...etc Little Laser Lady, an upbeat end to the suite, is based on a poem by a friend of the composer, whose girlfriend (and wife to be) would always visit him in her Laser (a make of car in Australia) (She is the sun in the afternoon, she is the night's familiar, she comes on a beam of yellow gold light......) The orchestration is: Piccolo [except in the 4th movement], 2 Flutes, 2 Oboes, Clarinet, Bassoon and string orchestra including double bass. The pdf file contains the score and separate parts. The sound sample is an electronic preview. Also available: all the scores together under the title Sweet 4 chamber orchestra.
$16.00
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The Little Lady Here
