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--INSTRUMENTS--
ACCORDEON
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CHORALE - CHAN…
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LIVRES
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MARIMBA
OCARINA
ORCHESTRE
ORGUE
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SYNTHETISEUR
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What's The Reason
Non classifié
36
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43
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26
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16
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1
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1
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1
Bass Clef Instruments
1
Trompette (partie séparée)
1
Cor anglais, Piano
1
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Quatuor à cordes: 2 violons, alto, violoncelle
5
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2
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2
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1
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1
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1
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TRI ET FILTRES
TRI ET FILTRES
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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
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Vous avez sélectionné:
What's The Reason
Partitions à imprimer
36 partitions trouvées
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26
People Need The Lord
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Gospel Spirituel
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Musique Sacrée
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Steve Green
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Peet du Toit
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People Need The Lord
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Peet du Toit
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SheetMusicPlus
Brass Ensemble Euphonium,Horn,Trumpet,Tuba - Level 3 - SKU: A0.802608 By Steve Green. By Greg Nelson and Phill McHugh. Arranged by Peet du Toit. Christi...
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Brass Ensemble Euphonium,Horn,Trumpet,Tuba - Level 3 - SKU: A0.802608 By Steve Green. By Greg Nelson and Phill McHugh. Arranged by Peet du Toit. Christian,Gospel. Score and parts. 11 pages. Peet du Toit #5983089. Published by Peet du Toit (A0.802608). Steve Green is the son of missionaries. It therefore seemed natural that this song written by Greg Nelson and Phil McHugh which pictures hungry, hurting people who are unaware of the Christian message, would resonate with him. However, Green had a life-changing experience when he realized he'd been living a fake and phoney life, where he'd been doing the right things but with the wrong motives. He'd therefore understood his desperate need for a Saviour and ran to Jesus for what He alone can provide. As a consequence, when this song was pitched to him, Green had just come through a pretty significant life turn-around. The singer recalled to CCM Magazine presents 100 Greatest Songs In Christian Music: It resonated for two reasons - first, because my parents had given their lives to evangelize, and their love for the people they were serving around the world was motivated by Christ's love for them; so that was definitely one of the reasons why I gravitated to the song. The other reason was that for the for the first time, I suppose, I was realizing that it isn't just those who never heard about the Lord who needed him. I knew that I was surrounded by people just like me who were living kind of an external, performance-based Christianity, but they had no light. I started thinking of us as the 'elder brothers' - those who never ran away from home but were just as lost as the prodigal.Watch Steve Green singing this heartfelt song on YouTube at https://www.youtube.com/watch?v=Nbxvc6eeXso .I found this music and lyrics so inspiring and beautiful, I just had to translate it to brass instruments. Enjoy!
$18.00
The Best Hymns of All Time (Violin, Cello and Piano) Book 1
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Musique Sacrée
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Various
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Colin Kirkpatrick
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The Best Hymns of All Time
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Colin Kirkpatrick Publications
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SheetMusicPlus
Piano Trio,String Ensemble Cello,Double Bass,Piano,Violin - Level 2 - SKU: A0.522286 Composed by Various. Arranged by Colin Kirkpatrick. Praise & Worshi...
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Piano Trio,String Ensemble Cello,Double Bass,Piano,Violin - Level 2 - SKU: A0.522286 Composed by Various. Arranged by Colin Kirkpatrick. Praise & Worship,Sacred. Score and parts. 50 pages. Colin Kirkpatrick Publications #6596257. Published by Colin Kirkpatrick Publications (A0.522286). We’re really excited to present our collection of sixty of the best-loved hymns ever composed, presented in three books. Arranged for violin, cello and piano they are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing. To make the music accessible to less experienced string players, the range of the notes has been kept fairly low so that many of the arrangements can be played in first position, though more experienced players would probably want to avoid open strings. The cello part does not follow the bass but instead plays an independent tenor line using to the mid to upper range of the instrument. The top note in the cello part is the F sharp above the bass clef. The piano part has been kept as straightforward as possible with the left hand playing the bass part. To extend the possible uses of this collection, there’s also a melody part printed in the bass clef, an octave lower than the violin part. This could of course be used for cello solo or indeed for any other bass clef instrument. Included in the 50-page PDF file is an optional bass part which follows the piano left hand and could be used for string bass or bass guitar. With such a small ensemble, a conductor is hardly necessary and to save on costs the pianist reads from the score. For this reason, the piano part in the score has been slightly enlarged. Book 1 contains the following twenty popular hymns: Abide with Me (Eventide); All Glory, Laud and Honor (St. Theodulph); All Hail the Power of Jesus' Name (Coronation); All Through the Night (Ar Hyd y Nos); City of God, How Broad and Far (Richmond - Haweis); Fairest Lord Jesus (Crusader’s Hymn); Fight the Good Fight (Duke Street); Forth in Thy Name (Angel's Song, Song 34); Guide Me, O Thou Great Redeemer (Cwm Rhondda); He who Would Valiant Be (Monk’s Gate); Holy, Holy, Holy! (Nicea); I Heard the Voice of Jesus Say (Kingsfold); Jesu, Lover of my Soul (Aberystwyth); Nearer my God to Thee (Bethany); Now Thank We All Our God (Nun Danket); O Worship the King (Hanover); Rejoice, the Lord is King (Darwall’s 148th); Soldiers of Christ, Arise (Diademata); The Lord’s my Shepherd (Crimmond); What a Friend we Have in Jesus (Converse). The music has been set in string-friendly keys so they are not compatible with the brass or wind publications of the same name. The audio samples include Abide with Me; All Through the Night; I Heard the Voice of Jesus Say; Nearer my God to Thee and What a Friend we Have in Jesus.
$15.99
Pictures at an Exhibition 2. The Old Castle
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Classique
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Modest Petrovich Mussorgsky
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Erik Cole
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Pictures at an Exhibition 2. T
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Erik Cole
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SheetMusicPlus
Woodwind Ensemble - Level 4 - SKU: A0.996121 Composed by Modest Petrovich Mussorgsky. Arranged by Erik Cole. Romantic Period. 33 pages. Erik Cole #47930...
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Woodwind Ensemble - Level 4 - SKU: A0.996121 Composed by Modest Petrovich Mussorgsky. Arranged by Erik Cole. Romantic Period. 33 pages. Erik Cole #4793067. Published by Erik Cole (A0.996121). This is a transcription of the complete Pictures at an Exhibition for double reed choir. It is all in the original keys and based on the well-known Ravel orchestration, which is quite difficult. As a result, this arrangement is even more challenging. It is designed with at least 2 players per part in mind, and all of the oboe and bassoon parts are divisi throughout. The attached MP3 recordings are multi-track recordings of me playing all the parts. This was, by far, the most daunting recording I have put together for any of my arrangements, and I apologize for any minor imperfections in timing or pitch. In many places, this really stretched the limits of what I am capable of on bassoon. Faced with trying to recreate the uniqueness of Ravel’s use of the solo Alto Saxophone, I decided to give that part to a solo Oboe d’Amore. It’s quite distinct, and conveniently just exactly fits into the range of the instrument. Many groups won’t have access to a d’amore, though, so I have included an alternate part for English Horn. Using it does make this the only movement that requires 2 English Horns, however. This is also the movement where I discovered that the cheap recording equipment I’m using currently doesn’t like long sustained tones, and there are a lot of them in this movement. For whatever reason, there’s a lot of distortion on them in the MP3, and I apologize for not being able to figure out how to correct that.
$14.50
Surfin' U.s.a.
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Rock
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The Beach Boys
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Petey C
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Surfin' U.s.a.
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Petey C.
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SheetMusicPlus
Small Ensemble Drum Set,Horn - Level 3 - SKU: A0.873894 By The Beach Boys. By Chuck Berry. Arranged by Petey C. Pop,Rock. Score and parts. 15 pages. Pet...
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Small Ensemble Drum Set,Horn - Level 3 - SKU: A0.873894 By The Beach Boys. By Chuck Berry. Arranged by Petey C. Pop,Rock. Score and parts. 15 pages. Petey C. #6256089. Published by Petey C. (A0.873894). First of all, if you're considering purchasing this quartet, check out the store on my website https://peteyc.com/store to see what I have there. My arrangements there are cheaper and most of the revenue will go to the arranger (me) instead of sheet music plus.Another Beach boys quartet because The Beach Boys are great. As a teenager, I was definitely exposed to a fair amount of their music for some reason. It's not always easy to transform this kind of music into an idiom that sounds good as instrumental chamber music, however, this is part of my quest to develop a broad range of popular music that I can play live with a small group on the horn.This is great for university students and professionals... maybe even high school students. There are not a lot of great, challenging horn quartet arrangements out there, like this one is. This arrangement helps fill a niche for small ensemble in that horn quartet music typically lacks repertoire in most contemporary and rock genres. This one has a kit part included, which isn't necessary to perform this quartet, but might make it easier if a quartet to perform it with drums if they wanted to.The melody gets passed around a bit so it's fun and interesting for everyone. Score, parts and cover arts included. I hope someone out there tries this arrangement and has fun!
$12.99
10,000 Reasons (bless The Lord)
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Musique Sacrée
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Matt Redman
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Kyle Pudenz
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10,000 Reasons
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ViolinVagabond Music
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SheetMusicPlus
Guitar - Level 2 - SKU: A0.1213599 By Matt Redman. By Jonas Myrin and Matt Redman. Arranged by Kyle Pudenz. Christian,Praise & Worship,Religious,Wedding...
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Guitar - Level 2 - SKU: A0.1213599 By Matt Redman. By Jonas Myrin and Matt Redman. Arranged by Kyle Pudenz. Christian,Praise & Worship,Religious,Wedding. Chords/Lyrics. 5 pages. ViolinVagabond Music #810792. Published by ViolinVagabond Music (A0.1213599). Here's a chart designed for the last-minute gigging musician, by the last-minute gigging musician. Indeed, I got called in to sub on a solo violin wedding gig on less than 24 hours' notice, and found this song right at the top of the list. Having not played or listened to it in... a while, I decided to display some semblance of due dilligence and write out a version that would work in the range of a solo instrumental violin. Then, and don't ask me where this sudden magnanimous streak came from, I decided to spin up the same chart with lyrics and chord diagrams just in case I ever needed to play it with a vocalist.Out of the goodness of my heart, ALL of the above is available to you for the low low price of (insert current minimum price for SMP chart). While I was tabbing this out from the perspective of a violinist, the range is pretty universal and should be playable on just about any treble clef instrument. Including the viola... although if you got hired to play solo viola at a wedding or a church service I have questions.It's nothing spectacular, but here's what I can promise you if you buy this chart:- THE CHORDS ARE RIGHT. I honestly can't believe there are people that get the chords to worship songs wrong on their arrangements, but here we are. Rest assured I am not one of them.- YOU CAN ACTUALLY READ IT. Finale collisions and terrible interpretations of vocal rhythms need not apply here.- THE MELODY WILL WORK ON YOUR INSTRUMENT. Again, this is not one of those hyper-transcriptions of every little vocal ornament that was sang on the studio version. I purposefully chose where to simplify vs. embellish the melody so that there's room for instrumental interpretation without getting lost in the details.May this humble arranger's last-minute busy work bring joy to your audience and at least an extra 30 minutes of sleep to you by not having to learn this song the night before the gig. Enjoy the hustle, friends.
$3.99
Chord Progression Generator for Guitar
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Brian Streckfus
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Chord Progression Generator fo
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Brian Streckfus
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SheetMusicPlus
Acoustic Guitar,Electric Guitar - Level 1 - SKU: A0.1488812 Composed by Brian Streckfus. Instructional,Singer/Songwriter. Educational Exercises. 12 page...
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Acoustic Guitar,Electric Guitar - Level 1 - SKU: A0.1488812 Composed by Brian Streckfus. Instructional,Singer/Songwriter. Educational Exercises. 12 pages. Brian Streckfus #1065662. Published by Brian Streckfus (A0.1488812). Pages: 12Keys: 1. C Major2. A minor3. A Harmonic minor4. A minor (Jazz 7ths)5. A minor (Extreme Jazz extensions)6. The seven modesThis collection of PDFs is something I am very proud of and I believe it has been my most well recieved PDF upload on the internet. Finding chord charts that simply list chords are a dime a dozen, and can be found anywhere. It is much rarer for a chord sheet to try to explain what order they go in and even rarer still to find it for guitar. It's difficult because it is an art, and of course there really is no wrong answers in composing (especially on Halloween I always joke). I personally haven't seen anything else quite like this on the internet.Many music theory books seem abstract and impractical whereas these chord charts show music theory applied to guitar. The aim is to memorize them so that you can understand them in all 12 keys. These chord progressions are of course a great composition aid. Tips:1. I find sheets like this to be excellent practice to play by ear. If the music is relaxing I play blue chords, if it is intense I play red chords. Once you get into the groove, and you know no one is changing key, it's as simple as that.2. When playing by ear, even if you get the exact chord wrong but you still get the correct color, it will still sound like you harmonizing the song correctly!!! See chords categorized by purpose rather than name will elegantly simplify how music actually works.3. The reason why we study the roman numerals is to be able to think about all of music in a single keyless key to allow for optimum clarity.4. One issue that needs to be fixed: what to do about the 11 other keys? One easy and quick fix is to use a guitar capo (or downtune) to get to all the other keys. I can't imagine giving out 56 pages of chord progressions to each of my students, it's way too much. Instead, I teach strategies on how these work in all 12 keys. 5. Order = Blue, Yellow, Red, Blue for stereotypical chord progressions that truely progress. These is such a thing called a chord succession where it is not the previous order. Again, try not to see music in terms of right and wrong. Everything expresses an emotion. For example, if there is a song devoid of red chords, it will result in more peaceful music. Lots of red would be great for metal music, etc...Social Media:https://allmylinks.com/brianstreckfushttps://www.facebook.com/profile.php?id=100078682133421https://www.patreon.com/brianstreckfushttps://www.brianstreckfus.comhttps://www.facebook.com/classicalguitar2015/https://twitter.com/BrianStreckfushttps://www.instagram.com/brianstreckfus/https://www.youtube.com/user/woodenboxengineerhttps://www.facebook.com/Doppelganger-106026062029620/https://www.linkedin.com/in/brian-streckfus-9b334a92/https://steemit.com/@boxengineerhttps://d.tube/#!/c/brian0streckfus0guitarhttps://www.sheetmusicdirect.com/en-US/Search.aspx?query=Brian%2BStreckfushttps://www.sheetmusicplus.com/publishers/brian-streckfus-sheet-music/3027331https://belairmusicstudios.com/product/brian-streckfus/https://soundcloud.com/streckfusclassicalguitar.
$4.99
Do You Hear What I Hear
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Noël
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Carole King
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Cindy Blevins
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Do You Hear What I Hear
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Cindy Blevins
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SheetMusicPlus
Instrumental Solo,Tin Whistle - Level 3 - SKU: A0.1159834 By Carole King. By Gloria Shayne and Noel Regney. Arranged by Cindy Blevins. Christmas. Indivi...
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Instrumental Solo,Tin Whistle - Level 3 - SKU: A0.1159834 By Carole King. By Gloria Shayne and Noel Regney. Arranged by Cindy Blevins. Christmas. Individual part. 8 pages. Cindy Blevins #760096. Published by Cindy Blevins (A0.1159834). Note: You can see an excerpt of both the solo without fingerings and the solo with fingerings. The blank pages you may see in the samples are there on purpose to avoid showing more than the music sample. This arrangement is for solo (unaccompanied) Tin Whistle. You receive the tin whistle part without fingering diagrams, the same part but WITH fingering diagrams and a comprehensive fingering chart for your tin whistle. So if you enjoy playing the notes on the staff, there is a part for you! And if you need the diagrams for learning, or for using every time, there's a part for you! Tin whistle isn't just for Irish music, it is extremely versatile and fun to play! Please note, my Tin Whistle is a high D. I write for D whistle because it is a very common key that many people have. The fingering chart I put together shows the D scale, with chromatic fingerings you may need some day! But if you're playing a different key of whistle, you can also play this piece. It is unaccompanied, and all keys of tin whistle are fingered the same. So follow the part with diagrams if you need to.If you have a pianist in your life, there is a piano and tin whistle arrangement of this piece listed separately (I am not allowed to bundle them for reasons of copyright).
$4.99
What A Wonderful World
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Louis Armstrong
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Cindy Blevins
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What A Wonderful World
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Cindy Blevins
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SheetMusicPlus
Instrumental Solo,Tin Whistle - Level 3 - SKU: A0.1164141 By Louis Armstrong. By Bob Thiele and George David Weiss. Arranged by Cindy Blevins. Pop,Stand...
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Instrumental Solo,Tin Whistle - Level 3 - SKU: A0.1164141 By Louis Armstrong. By Bob Thiele and George David Weiss. Arranged by Cindy Blevins. Pop,Standards. Individual part. 10 pages. Cindy Blevins #764491. Published by Cindy Blevins (A0.1164141). Note: You can see an excerpt of both the solo without fingerings and the solo with fingerings. The blank pages you may see in the samples are there on purpose to avoid showing more than the music sample. This arrangement is for solo (unaccompanied) Tin Whistle. You receive the tin whistle part without fingering diagrams, the same part but WITH fingering diagrams and a comprehensive fingering chart for your tin whistle. So if you enjoy playing the notes on the staff, there is a part for you! And if you need the diagrams for learning, or for using every time, there's a part for you! Tin whistle isn't just for Irish music, it is extremely versatile and fun to play! Please note, my Tin Whistle is a high D. I write for D whistle because it is a very common key that many people have. The fingering chart I put together shows the D scale, with chromatic fingerings you may need some day! But if you're playing a different key of whistle, you can also play this piece. It is unaccompanied, and all keys of tin whistle are fingered the same. So follow the part with diagrams if you need to.If you have a pianist in your life, there is a piano and tin whistle arrangement of this piece listed separately (I am not allowed to bundle them for reasons of copyright).
$4.99
Los ñoquis del veintinueve
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Juan MarÃa Solare
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Los ñoquis del veintinu
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Juan Maria Solare
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SheetMusicPlus
Small Ensemble - Level 2 - SKU: A0.596601 Composed by Juan MarÃa Solare. 20th Century,Contemporary,Instructional. Score and parts. 7 pages. Juan Mari...
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Small Ensemble - Level 2 - SKU: A0.596601 Composed by Juan MarÃa Solare. 20th Century,Contemporary,Instructional. Score and parts. 7 pages. Juan Maria Solare #6057663. Published by Juan Maria Solare (A0.596601). Los ñoquis del veintinueve – The Gnocchi of the Twenty-Ninth – by Juan MarÃa Solare Audio: https://soundcloud.com/mihovilcevic/juan-maria-solare-los-noquis/s-bOICUjXTDyS Comments The order of these 29 numbers is rigorously random, as is the election of the six sizes of the fonts (12, 16, 20, 24, 28 and 32 picas). In order to determinate both dimensions I used the program I-Ching by Andrew Culver (assistant to John Cage in the '80 and '90), a program that is distributed as shareware in internet (thanks). The colour version follows the following criterion: - (a) prime numbers (see green) - (b) multiples of 3 (red) - (c) all other numbers (blue) ...if it ends up being good music then what matter the procedure involved? (David Cope, New Music Composition, p. 117) About the expression los ñoquis del 29: The Italian word gnocchi (gnocchi is plural of gnocco, which meaning is lump) is used in Spanish often as ñoqui or ñoquis. In the RÃo de la Plata (Argentina and Uruguay) are traditionally eaten on the 29th of each month, the day before payday, when people has less money. This tradition is called los ñoquis del 29 - the gnocchi of the twenty-ninth. There are naturally other versions. The most picturesque comes from a legend of the VIIIth century (or even IIIrd century). A young physician called Pantaleon (Panteleimon) lived in Nicosia (Cyprus), who after converting to Christianity, journeyed through the North of Italy. There he practiced miraculous healings due to which he was canonized. In a certain occasion, he asked some Venetian villagers for bread, and they invited him to share their poor table. Grateful, he announced them a year of excellent fishing and harvest. The prophecy was fulfilled. Saint Pantaleon was consecrated –along with Saint Mark– patron of Venice. That episode occurred on a 29th, for this reason that day is recalled with a simple food represented by gnocchi. The accompanying ritual of putting money below the dish represents the yearning of new gift. Outside the culinary realm, certain Argentine and Uruguayan functionaries are dismissively called ñoquis, because they only go to work at the end of the month, to justify their salary or simply to cash in for a not fulfilled work. This meaning was spread since the 1970's. Premiere: Luis Mihovilcevic, Saturday 25 October 2008, Centro Cultural Islas Malvinas, La Plata (Argentina). * JMS * DonSolare@gmail.com *https://soundcloud.com/mihovilcevic/juan-maria-solare-los-noquis/s-bOICUjXTDyS
$2.25
Resilience?
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Classique
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D
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Resilience?
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DkingFoundation
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SheetMusicPlus
Cello,Double Bass,Guitar,Viola,Violin - Level 3 - Interactive Download SKU: A0.1460382 Composed by D. Goggans. This edition: Interactive Download. Classi...
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Cello,Double Bass,Guitar,Viola,Violin - Level 3 - Interactive Download SKU: A0.1460382 Composed by D. Goggans. This edition: Interactive Download. Classical. 17 pages. Duration 354. DkingFoundation #4txuT0rSIBzxTwBMNWVxA3. Published by DkingFoundation (A0.1460382). Key: E minor.This concerto for classical guitar was composed for Diana Richardson and the Cleveland School of the Arts Orchestra in September of 2021. Resilience is meant to be a musical reflection on Damian's last two years of High school, which was plagued with a pandemic. The title questions the reasoning of the world's resilience during these times. While mother nature worked to kill us, we continued to kill each other. Rather than work together, we stormed our nation's capital, and continued to promote violence against ourselves based upon our differences. Nothing changed and nothing was learned, so what was the point.... Author's Note: Measures 48-59 are dedicated to the memory of my baby brother D'king Goggans.
$3.00
On That Cross (Piano part ONLY)
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Musique Sacrée
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Stuart Richard Brown
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Stuart Richard Brown
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On That Cross
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Stuart Brown Music
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SheetMusicPlus
Choral Choir,Choral - Level 2 - SKU: A0.1182872 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Christian,Easter,Pra...
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Choral Choir,Choral - Level 2 - SKU: A0.1182872 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Christian,Easter,Praise & Worship,Religious,Sacred. 1 pages. Stuart Brown Music #782621. Published by Stuart Brown Music (A0.1182872). The accompanying score and a choral bundle are also available from this website.The composer writes: 'On That Cross' is a powerful reflection on the crucifixion of Jesus Christ. I came up with the lyrics at around 3am in the morning of 3rd December 2014 sitting at a desk in room 703 of the De Syloia Hotel in Hanoi, Vietnam. Often I find that my periods of working abroad give me the space to think of things in new ways. This song is a good example of that.One look at the first page of the score of 'On That Cross' is all you need to realize that this is not a case of a choir singing with a piano accompaniment. I put the piano part above the choir in order to dispel that misconception. So if it's not that, what is it? I wanted to demonstrate that it is possible to approach a subject from two completely different points of view, without either point of view being compromised by the other, and yet the result can nevertheless be a beautiful synergy. That is what the pianist and the choir are doing here. Each is meditating upon the cross of Christ, but from two totally unrelated points of view and yet somehow combining in a way that is almost hypnotically beautifully. There is little obvious relationship between the choir's and the piano's music; and yet each is reconciled to the other ... and there's a very good reason why I wanted the music to speak of such reconciliation.In late 2014 people in Iraq were being beheaded, crucified and generally killed in the most brutal and sadistic manner possible. Their only ‘crime’ was to dare to call themselves Christians. You can say what you like but in my book nobody has the right to tell anybody else what they should believe, much less murder them on religious grounds. The thing that incensed me almost to the point of incandescence was that the perpetrators of this unspeakable evil dared to justify their actions by claiming that they were acting on behalf of their god. So in such frame of mind I started to write the lyrics to 'On That Cross'.The first words that came into my mind were “Oh men who dare to call on gods to justify your hatred – of this be sure …†and I wanted to follow that with threats of eternal damnation, torture in hellfire and so on. Except that the words that flowed out of my fingers onto my computer screen were not like that at all. “Of this be sure – I love you still, my cross your salvation from all the sin of man.â€It doesn’t get much more powerful than that. I may be incapable of loving the people of ISIS, ISIL, DAESH or whatever one calls them, but my God isn’t. He created them, he sent his Son to die for them … and he is even now ready to save them, as he is you and me. That’s grace.A small group of us sang this at a Good Friday united service in 2016. We sang it unannounced, at the end of the service, when one would have expected people to start getting up from their seats and leaving the church. Nobody did. Not one single person moved while we sang..
$1.99
On That Cross (choir pack + piano part + licence)
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Musique Sacrée
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Stuart Richard Brown
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Stuart Richard Brown
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On That Cross
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Stuart Brown Music
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SheetMusicPlus
Choral Choir,Choral - Level 2 - SKU: A0.1182870 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Christian,Easter,Pra...
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Choral Choir,Choral - Level 2 - SKU: A0.1182870 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Christian,Easter,Praise & Worship,Religious,Sacred. 14 pages. Stuart Brown Music #782619. Published by Stuart Brown Music (A0.1182870). The composer writes: 'On That Cross' is a powerful reflection on the crucifixion of Jesus Christ. I came up with the lyrics at around 3am in the morning of 3rd December 2014 sitting at a desk in room 703 of the De Syloia Hotel in Hanoi, Vietnam. Often I find that my periods of working abroad give me the space to think of things in new ways. This song is a good example of that.One look at the first page of the score of 'On That Cross' is all you need to realize that this is not a case of a choir singing with a piano accompaniment. I put the piano part above the choir in order to dispel that misconception. So if it's not that, what is it? I wanted to demonstrate that it is possible to approach a subject from two completely different points of view, without either point of view being compromised by the other, and yet the result can nevertheless be a beautiful synergy. That is what the pianist and the choir are doing here. Each is meditating upon the cross of Christ, but from two totally unrelated points of view and yet somehow combining in a way that is almost hypnotically beautifully. There is little obvious relationship between the choir's and the piano's music; and yet each is reconciled to the other ... and there's a very good reason why I wanted the music to speak of such reconciliation.In late 2014 people in Iraq were being beheaded, crucified and generally killed in the most brutal and sadistic manner possible. Their only ‘crime’ was to dare to call themselves Christians. You can say what you like but in my book nobody has the right to tell anybody else what they should believe, much less murder them on religious grounds. The thing that incensed me almost to the point of incandescence was that the perpetrators of this unspeakable evil dared to justify their actions by claiming that they were acting on behalf of their god. So in such frame of mind I started to write the lyrics to 'On That Cross'.The first words that came into my mind were “Oh men who dare to call on gods to justify your hatred – of this be sure …†and I wanted to follow that with threats of eternal damnation, torture in hellfire and so on. Except that the words that flowed out of my fingers onto my computer screen were not like that at all. “Of this be sure – I love you still, my cross your salvation from all the sin of man.â€It doesn’t get much more powerful than that. I may be incapable of loving the people of ISIS, ISIL, DAESH or whatever one calls them, but my God isn’t. He created them, he sent his Son to die for them … and he is even now ready to save them, as he is you and me. That’s grace.A small group of us sang this at a Good Friday united service in 2016. We sang it unannounced, at the end of the service, when one would have expected people to start getting up from their seats and leaving the church. Nobody did. Not one single person moved while we sang..
$16.00
Satie: Parade - Final & Suite au Prélude de rideau rouge - wind dectet
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Classique
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Contemporain
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Erik Satie
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Ray Thompson
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Satie: Parade - Final & Su
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RayThompsonMusic
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SheetMusicPlus
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - SKU: A0.1335055 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century,Chamber. 22 page...
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - SKU: A0.1335055 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century,Chamber. 22 pages. RayThompsonMusic #920917. Published by RayThompsonMusic (A0.1335055). Satie: Parade - Final & Suite au Prélude de rideau rougeArranged wind dectet/bass (double wind quintet)The concluding music for Erik Satie's Ballet Parade.Other movements from Parade are available.Background info:Parade is a ballet choreographed by Leonide Massine, with music by Erik Satie and a one-act scenario by Jean Cocteau. The ballet was composed in 1916–17 for Sergei Diaghilev's Ballets Russes. The ballet premiered on Friday, May 18, 1917, at the Théâtre du Châtelet in Paris, with costumes and sets designed by Pablo Picasso, choreography by Léonide Massine (who danced), and the orchestra conducted by Ernest Ansermet.The ballet was remarkable for several reasons. It was the first collaboration between Satie and Picasso, and also the first time either of them had worked on a ballet, thus making it the first time either collaborated with Diaghilev and the Ballets Russes.The plot of Parade incorporated and was inspired by popular entertainments of the period, such as Parisian music-halls and American silent-films.Much of the settings used in Parade's plot occurred outside of the formal Parisian theater, depicting the streets of Paris.The plot reproduces various elements of everyday life such as the music hall and fairground.Before Parade, the use of popular entertainment materials was considered unsuitable for the elite world of the ballet.The plot of Parade composed by Cocteau includes the failed attempt of a troupe of performers to attract audience members to view their show.Some of Picasso's Cubist costumes were in solid cardboard, allowing the dancers only a minimum of movement.The score contained several noise-making instruments (typewriter, foghorn, an assortment of milk bottles, pistol, and so on), which had been added by Cocteau (somewhat to the dismay of Satie).It is supposedthat such additions by Cocteau showed his eagerness to create a succès de scandale, comparable to that of Igor Stravinsky's Le Sacre du Printemps which had been premiered by the Ballets Russes some years before, and caused no less scandal.Although Parade was quite revolutionary, bringing common street entertainments to the elite, being scorned by audiences and being praised by critics,nonetheless many years later Stravinsky could still pride himself in never having been topped in the matter of succès de scandale.The ragtime contained in Parade would later be adapted for piano solo and attained considerable success as a separate piano piece.The finale is a rapid ragtime dance in which the whole cast [makes] a last desperate attempt to lure the audience in to see their showI have omitted the  percussion in my arrangement of the finale.The premiere of the ballet resulted in a number of scandals. One faction of the audience booed, hissed, and was very unruly, nearly causing a riot before they were drowned out by enthusiastic applause.Many of their objections were focused on Picasso's cubist design, which was met with cries of sale boche.Arranged wind dectet/bass (double wind quintet).
$14.95
Satie: Parade - Choral & Prélude de rideau rouge - wind dectet
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Classique
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Contemporain
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Erik Satie
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Ray Thompson
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Satie: Parade - Choral & P
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RayThompsonMusic
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SheetMusicPlus
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - SKU: A0.1293743 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century,Chamber. 16 page...
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 4 - SKU: A0.1293743 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century,Chamber. 16 pages. RayThompsonMusic #884220. Published by RayThompsonMusic (A0.1293743). Arranged wind dectet/bass (double wind quintet)A taster of the opening music for Erik Satie's Ballet Parade.Choral and Prelude of the red curtainOther scores to follow.Background info:Parade is a ballet choreographed by Leonide Massine, with music by Erik Satie and a one-act scenario by Jean Cocteau. The ballet was composed in 1916–17 for Sergei Diaghilev's Ballets Russes. The ballet premiered on Friday, May 18, 1917, at the Théâtre du Châtelet in Paris, with costumes and sets designed by Pablo Picasso, choreography by Léonide Massine (who danced), and the orchestra conducted by Ernest Ansermet.The ballet was remarkable for several reasons. It was the first collaboration between Satie and Picasso, and also the first time either of them had worked on a ballet, thus making it the first time either collaborated with Diaghilev and the Ballets Russes.The plot of Parade incorporated and was inspired by popular entertainments of the period, such as Parisian music-halls and American silent-films.Much of the settings used in Parade's plot occurred outside of the formal Parisian theater, depicting the streets of Paris.The plot reproduces various elements of everyday life such as the music hall and fairground.Before Parade, the use of popular entertainment materials was considered unsuitable for the elite world of the ballet.The plot of Parade composed by Cocteau includes the failed attempt of a troupe of performers to attract audience members to view their show.Some of Picasso's Cubist costumes were in solid cardboard, allowing the dancers only a minimum of movement.The score contained several noise-making instruments (typewriter, foghorn, an assortment of milk bottles, pistol, and so on), which had been added by Cocteau (somewhat to the dismay of Satie).It is supposedthat such additions by Cocteau showed his eagerness to create a succès de scandale, comparable to that of Igor Stravinsky's Le Sacre du Printemps which had been premiered by the Ballets Russes some years before, and caused no less scandal.Although Parade was quite revolutionary, bringing common street entertainments to the elite, being scorned by audiences and being praised by critics,nonetheless many years later Stravinsky could still pride himself in never having been topped in the matter of succès de scandale.The ragtime contained in Parade would later be adapted for piano solo and attained considerable success as a separate piano piece.The finale is a rapid ragtime dance in which the whole cast [makes] a last desperate attempt to lure the audience in to see their showThe premiere of the ballet resulted in a number of scandals. One faction of the audience booed, hissed, and was very unruly, nearly causing a riot before they were drowned out by enthusiastic applause.Many of their objections were focused on Picasso's cubist design, which was met with cries of sale boche.
$4.99
Satie: Parade - II. Petite Fille Americaine - wind dectet
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Classique
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Contemporain
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Erik Satie
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Ray Thompson
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Satie: Parade - II. Petite Fil
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RayThompsonMusic
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SheetMusicPlus
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe,Percussion - Level 4 - SKU: A0.1353773 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century. 27 p...
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe,Percussion - Level 4 - SKU: A0.1353773 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century. 27 pages. RayThompsonMusic #938540. Published by RayThompsonMusic (A0.1353773). Arranged double wind quintet/bass and optional percussion.Background info:Parade is a ballet choreographed by Leonide Massine, with music by Erik Satie and a one-act scenario by Jean Cocteau. The ballet was composed in 1916–17 for Sergei Diaghilev's Ballets Russes. The ballet premiered on Friday, May 18, 1917, at the Théâtre du Châtelet in Paris, with costumes and sets designed by Pablo Picasso, choreography by Léonide Massine (who danced), and the orchestra conducted by Ernest Ansermet.The ballet was remarkable for several reasons. It was the first collaboration between Satie and Picasso, and also the first time either of them had worked on a ballet, thus making it the first time either collaborated with Diaghilev and the Ballets Russes.The plot of Parade incorporated and was inspired by popular entertainments of the period, such as Parisian music-halls and American silent-films.Much of the settings used in Parade's plot occurred outside of the formal Parisian theater, depicting the streets of Paris.The plot reproduces various elements of everyday life such as the music hall and fairground.Before Parade, the use of popular entertainment materials was considered unsuitable for the elite world of the ballet.The plot of Parade composed by Cocteau includes the failed attempt of a troupe of performers to attract audience members to view their show.Some of Picasso's Cubist costumes were in solid cardboard, allowing the dancers only a minimum of movement.The score contained several noise-making instruments (typewriter, foghorn, an assortment of bottles, pistol, and so on), which had been added by Cocteau (somewhat to the dismay of Satie).It is supposedthat such additions by Cocteau showed his eagerness to create a succès de scandale, comparable to that of Igor Stravinsky's Le Sacre du Printemps which had been premiered by the Ballets Russes some years before, and caused no less scandal.Although Parade was quite revolutionary, bringing common street entertainments to the elite, being scorned by audiences and being praised by critics,nonetheless many years later Stravinsky could still pride himself in never having been topped in the matter of succès de scandale.The ragtime contained in Parade would later be adapted for piano solo and attained considerable success as a separate piano piece.The finale is a rapid ragtime dance in which the whole cast [makes] a last desperate attempt to lure the audience in to see their showThe premiere of the ballet resulted in a number of scandals. One faction of the audience booed, hissed, and was very unruly, nearly causing a riot before they were drowned out by enthusiastic applause.Many of their objections were focused on Picasso's cubist design, which was met with cries of sale boche. Petite Fille Americaine  (Young American Girl) is no 2 in the ballet, and includes some of the odd percussion : typewriter and gunshots, in addition to normal orchestral perc.It also includes the Ragtime Dance which became very popular in it's own right.The piece can be performed without percussion....but the percussion gives it an extra something!!
$14.95
Satie: Parade I. Prestidigitateur chinois - wind dectet/bass (with optional percussion)
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Classique
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Contemporain
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Erik Satie
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Ray Thompson
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Satie: Parade I. Prestidigitat
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RayThompsonMusic
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SheetMusicPlus
A Clarinet,Bassoon,Double Bass,Flute,Oboe/English Horn,Percussion,Timpani,Tuba - Level 4 - SKU: A0.1300657 Composed by Erik Satie. Arranged by Ray Thomp...
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A Clarinet,Bassoon,Double Bass,Flute,Oboe/English Horn,Percussion,Timpani,Tuba - Level 4 - SKU: A0.1300657 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century,Chamber. 27 pages. RayThompsonMusic #890400. Published by RayThompsonMusic (A0.1300657). Arranged double wind quintet/bass and optional percussion.Background info:Parade is a ballet choreographed by Leonide Massine, with music by Erik Satie and a one-act scenario by Jean Cocteau. The ballet was composed in 1916–17 for Sergei Diaghilev's Ballets Russes. The ballet premiered on Friday, May 18, 1917, at the Théâtre du Châtelet in Paris, with costumes and sets designed by Pablo Picasso, choreography by Léonide Massine (who danced), and the orchestra conducted by Ernest Ansermet.The ballet was remarkable for several reasons. It was the first collaboration between Satie and Picasso, and also the first time either of them had worked on a ballet, thus making it the first time either collaborated with Diaghilev and the Ballets Russes.The plot of Parade incorporated and was inspired by popular entertainments of the period, such as Parisian music-halls and American silent-films.Much of the settings used in Parade's plot occurred outside of the formal Parisian theater, depicting the streets of Paris.The plot reproduces various elements of everyday life such as the music hall and fairground.Before Parade, the use of popular entertainment materials was considered unsuitable for the elite world of the ballet.The plot of Parade composed by Cocteau includes the failed attempt of a troupe of performers to attract audience members to view their show.Some of Picasso's Cubist costumes were in solid cardboard, allowing the dancers only a minimum of movement.The score contained several noise-making instruments (typewriter, foghorn, an assortment of bottles, pistol, and so on), which had been added by Cocteau (somewhat to the dismay of Satie).It is supposedthat such additions by Cocteau showed his eagerness to create a succès de scandale, comparable to that of Igor Stravinsky's Le Sacre du Printemps which had been premiered by the Ballets Russes some years before, and caused no less scandal.Although Parade was quite revolutionary, bringing common street entertainments to the elite, being scorned by audiences and being praised by critics,nonetheless many years later Stravinsky could still pride himself in never having been topped in the matter of succès de scandale.The ragtime contained in Parade would later be adapted for piano solo and attained considerable success as a separate piano piece.The finale is a rapid ragtime dance in which the whole cast [makes] a last desperate attempt to lure the audience in to see their showThe premiere of the ballet resulted in a number of scandals. One faction of the audience booed, hissed, and was very unruly, nearly causing a riot before they were drowned out by enthusiastic applause.Many of their objections were focused on Picasso's cubist design, which was met with cries of sale boche.Prestidigitateur chinois (Chinese Conjuror) is no 1 in the ballet, and includes some of the odd percussion : sirens in addition to normal orchestral perc.The piece can be performed without percussion....but the percussion gives it an extra something!!
$19.95
Satie: Parade III.Acrobates (Acrobats) - wind dectet/bass (with optional percussion)
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Classique
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Contemporain
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Erik Satie
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Ray Thompson
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Satie: Parade III.Acrobates
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RayThompsonMusic
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SheetMusicPlus
Bassoon,Clarinet,Double Bass,Flute,Mallet Percussion,Multi-Percussion,Oboe/English Horn - Level 4 - SKU: A0.1296860 Composed by Erik Satie. Arranged by ...
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Bassoon,Clarinet,Double Bass,Flute,Mallet Percussion,Multi-Percussion,Oboe/English Horn - Level 4 - SKU: A0.1296860 Composed by Erik Satie. Arranged by Ray Thompson. 20th Century,Chamber,Comedy. 40 pages. RayThompsonMusic #887010. Published by RayThompsonMusic (A0.1296860). Arranged double wind quintet/bass and optional percussion.Background info:Parade is a ballet choreographed by Leonide Massine, with music by Erik Satie and a one-act scenario by Jean Cocteau. The ballet was composed in 1916–17 for Sergei Diaghilev's Ballets Russes. The ballet premiered on Friday, May 18, 1917, at the Théâtre du Châtelet in Paris, with costumes and sets designed by Pablo Picasso, choreography by Léonide Massine (who danced), and the orchestra conducted by Ernest Ansermet.The ballet was remarkable for several reasons. It was the first collaboration between Satie and Picasso, and also the first time either of them had worked on a ballet, thus making it the first time either collaborated with Diaghilev and the Ballets Russes.The plot of Parade incorporated and was inspired by popular entertainments of the period, such as Parisian music-halls and American silent-films.Much of the settings used in Parade's plot occurred outside of the formal Parisian theater, depicting the streets of Paris.The plot reproduces various elements of everyday life such as the music hall and fairground.Before Parade, the use of popular entertainment materials was considered unsuitable for the elite world of the ballet.The plot of Parade composed by Cocteau includes the failed attempt of a troupe of performers to attract audience members to view their show.Some of Picasso's Cubist costumes were in solid cardboard, allowing the dancers only a minimum of movement.The score contained several noise-making instruments (typewriter, foghorn, an assortment of bottles, pistol, and so on), which had been added by Cocteau (somewhat to the dismay of Satie).It is supposedthat such additions by Cocteau showed his eagerness to create a succès de scandale, comparable to that of Igor Stravinsky's Le Sacre du Printemps which had been premiered by the Ballets Russes some years before, and caused no less scandal.Although Parade was quite revolutionary, bringing common street entertainments to the elite, being scorned by audiences and being praised by critics,nonetheless many years later Stravinsky could still pride himself in never having been topped in the matter of succès de scandale.The ragtime contained in Parade would later be adapted for piano solo and attained considerable success as a separate piano piece.The finale is a rapid ragtime dance in which the whole cast [makes] a last desperate attempt to lure the audience in to see their showThe premiere of the ballet resulted in a number of scandals. One faction of the audience booed, hissed, and was very unruly, nearly causing a riot before they were drowned out by enthusiastic applause.Many of their objections were focused on Picasso's cubist design, which was met with cries of sale boche.Acrobates (Acrobats) is no 3 in the ballet, and includes some of the odd percussion : sirens and a bottle phone, in addition to normal orchestral perc.The piece can be performed without percussion....but the percussion gives it an extra something!!
$19.95
Edelweiss
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Comédie Musicale
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Various Artists
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Will Corbin
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Richard Rodgers thought Capt
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Edelweiss
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Will Corbin
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SheetMusicPlus
Brass Quintet Baritone Horn TC,Trumpet,Tuba - SKU: A0.1460706 By Various Artists. By Oscar Hammerstein and Richard Rodgers. Arranged by Will Corbin. Bro...
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Brass Quintet Baritone Horn TC,Trumpet,Tuba - SKU: A0.1460706 By Various Artists. By Oscar Hammerstein and Richard Rodgers. Arranged by Will Corbin. Broadway,Musical/Show. 18 pages. Will Corbin #1039612. Published by Will Corbin (A0.1460706). No, it's not the Austrian national anthem, although anyone who has seen The Sound Of Music thinks so. (For that reason, most Austrians are merely mildly aggravated by what is otherwise a lovely tune.) The tiny edelweiss (it means noble white) flower is indeed a prominent symbol of Austria, present on many things Austrian you would find in any souvenir store across the country. Edelweiss was a late addition to the Sound Of Music score; Richard Rodgers thought Capt. Von Trapp needed a song to sing to his country as he fled the Nazis. It was also the last song of the Rodgers and Hammerstein collaboration before Hammerstein died. This arrangement features an echoic yodeling at beginning and end. It's scored for two trumpets, horn, baritone TC (trombone is more forceful than necessary, although I've included the part with this package) and tuba.If you need alternative instrumentation, I'm happy to accommodate. Contact me at wilcor@aol.com.
$15.00
OF LIGHT AND SHADOW (A NEW YEAR)
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Contemporain
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Monica Bergo
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OF LIGHT AND SHADOW
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Moni Bergo
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SheetMusicPlus
Small Ensemble Drums,Flute,Piano,Violin - SKU: A0.1012752 Composed by Monica Bergo. Contemporary. Score and parts. 37 pages. Moni Bergo #5743757. Publis...
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Small Ensemble Drums,Flute,Piano,Violin - SKU: A0.1012752 Composed by Monica Bergo. Contemporary. Score and parts. 37 pages. Moni Bergo #5743757. Published by Moni Bergo (A0.1012752). Music and song composed by meOF LIGHT AND SHADOW (A new year) Lights that shine On these days of mine Shadows that kill My enthusiasm but there is A whole journey that has been written for me Like a novel, its plot will unveil Another year on me And new days to be invented Find out what will happen It's a good reason to fight The light will illuminate me Or there will be new pain Find out what will happen It's a good reason to stay And I always run so strong For fear of falling Maybe this year I will learn How to do walk And I never slow down my pace Back I can not come back Because I would meet myself And inside me I should look I will fill with light and shadow This my eternal emptiness That I can not placate A thousand songs I will invent If there will be someone who will want to listen In connection with the world singing of fairies, magicians, elves, witches and intrigues always uncomfortable in my time looking for a place, a role in this year new I know that nothing will change yet Of light and shadow I will live I steal from the moon her mysteries I will give them to the sun In exchange for the eternal heat in the heart And like a witch burning at the stake I fire, I melt And born again And the alignment of Jupiter in Pluto The lunar eclipse gives me protection I wish the night would go down fast When my pain never finds peace I wish the sun would shine forever In every season, summer and winter A new year here Before me I mess up his days The gray of November With the warmth of September with lights and shadows I will confuse I will steal the sun in June and my Christmas will heat up and the January ice at Easter I will donate I will confuse the night and the day always mistress of my time in that mirror I will look happy with what I will see and new trips and experiences and emotions on the skin I will live with joy and intensity the light and the shadow that will come how many smiles on my lips will form new wrinkles happy with my age it's a nice finish line to be here and how many tears again will come down on my face will be joy or pain of light and shadow I will live It will be a new year of joys and sorrows of light and shadow of cold and heat ... .. Monica Bergo
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What's The Reason
