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Rush You
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98
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45
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27
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10
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2
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2
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2
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1
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1
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9
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1
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13
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8
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6
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2
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2
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2
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2
Alto, Piano
2
2 Violoncelles (duo)
1
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1
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1
2 Harpes (duo)
1
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1
Violon
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
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21
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14
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11
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7
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
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Vous avez sélectionné:
Rush You
SheetMusicPlus
Partitions à imprimer
5 partitions trouvées
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I've Got A Crush On You
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Instruments en Do
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INTERMÉDIAIRE/AVANCÉ
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Michael James and Troy B Samso
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John Fries
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I've Got A Crush On You
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John Fries
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SheetMusicPlus
C Instrument - Level 4 - SKU: A0.1117875 Composed by Michael James and Troy B Samson. Arranged by John Fries. 20th Century,Jazz,Standards. Lead Sheet / ...
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C Instrument - Level 4 - SKU: A0.1117875 Composed by Michael James and Troy B Samson. Arranged by John Fries. 20th Century,Jazz,Standards. Lead Sheet / Fake Book. 1 pages. John Fries #719387. Published by John Fries (A0.1117875). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer.  The original opening is shown in this arrangement. It is unique among Gershwin compositions in that it was used for two different Broadway productions: Treasure Girl (1928) and Strike Up the Band (1930), It is considered a jazz standard, primarily of the vocal repertoire, thanks to recordings by singers such as Frank Sinatra, Sarah Vaughan and Ella Fitzgerald.
$3.99
Hold My Hand
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Instruments en Do
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FACILE
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Film/TV
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Lady Gaga
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Hold My Hand
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Jose Welligton Sousa de Castro
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SheetMusicPlus
C Instrument - Level 2 - SKU: A0.1043681 By Lady Gaga. By Michael Tucker P/k/a Bloodpop and Stefani Germanotta. Arranged by Jose Welligton Sousa de Cast...
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C Instrument - Level 2 - SKU: A0.1043681 By Lady Gaga. By Michael Tucker P/k/a Bloodpop and Stefani Germanotta. Arranged by Jose Welligton Sousa de Castro. Film/TV,Pop. Lead Sheet / Fake Book. 2 pages. Jose Welligton Sousa de Castro #648379. Published by Jose Welligton Sousa de Castro (A0.1043681). Arrangement for solo (any instrument), with chords, from Lady Gaga's interpretation, from the theme of Top Gun: Maverick (2022).Bring the power of Lady Gaga's hit song Hold My Hand to your next performance with this sheet music. As featured in the highly-anticipated film Top Gun: Maverick (2022), this melody and chord progression is perfect for recitals, weddings, and film-themed events. Whether you're an experienced musician or just starting out, this sheet music is versatile enough to be played by any instrument. Don't miss out on the opportunity to add this iconic song to your repertoire and make your audience feel the rush of the Top Gun experience.
$4.99
Rhinestone Cowboy
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Instruments en Do
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INTERMÉDIAIRE/AVANCÉ
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Jim Rushing and Robert Lee Mcd
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John Fries
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Rhinestone Cowboy
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John Fries
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SheetMusicPlus
C Instrument - Level 4 - SKU: A0.1292275 Composed by Jim Rushing and Robert Lee Mcdill. Arranged by John Fries. 20th Century,Country,Pop,Standards. Lead...
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C Instrument - Level 4 - SKU: A0.1292275 Composed by Jim Rushing and Robert Lee Mcdill. Arranged by John Fries. 20th Century,Country,Pop,Standards. Lead Sheet / Fake Book. 1 pages. John Fries #882891. Published by John Fries (A0.1292275). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Â You can also type John Fries in the searchbar to see all I have to offer. Â Rhinestone Cowboy is a song written by Larry Weiss and most famously recorded by American country music singer Glen Campbell. When released in 1975, it enjoyed huge popularity with both country and pop audiences. The song is about a veteran artist who's aware that he's more than paid his dues during his career ... but is still surviving, and someday, he'll shine just like a rhinestone cowboy. After Campbell's death in August 2017, Rhinestone Cowboy charted on the Country Digital Song chart at No. 12. As of August 2017, the song had been downloaded more than 368,000 times in the digital era in the United States.
$3.99
Weak
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Instruments en Do
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FACILE
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Swv
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Marco Polo C
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Weak
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MARCO POLO IGNACIO
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SheetMusicPlus
C Instrument - Level 2 - SKU: A0.1486036 By Swv. By Brian Alexander Morgan. Arranged by Marco Polo C. Ignacio. Pop,R & B. Lead Sheet / Fake Book. 2 page...
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C Instrument - Level 2 - SKU: A0.1486036 By Swv. By Brian Alexander Morgan. Arranged by Marco Polo C. Ignacio. Pop,R & B. Lead Sheet / Fake Book. 2 pages. MARCO POLO IGNACIO #1063092. Published by MARCO POLO IGNACIO (A0.1486036). Weak is a song by American R&B vocal trio SWV from their debut studio album, It's About Time (1992). It was written and produced by Brian Alexander Morgan, who composed the lyrics based on a young person falling in love for the first time. Inspired by his crush on singer Chanté Moore, Morgan originally wrote the song for Charlie Wilson, but he later decided to give the song to SWV.
$4.99
Almost May Lead Sheet
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Instruments en Do
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FACILE
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Heidi Savoie
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Heidi Savoie
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Almost May Lead Sheet
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Heidi Savoie
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SheetMusicPlus
C Instrument - Level 2 - SKU: A0.1376331 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Instructional,Jazz,Singer/So...
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C Instrument - Level 2 - SKU: A0.1376331 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Instructional,Jazz,Singer/Songwriter. Lead Sheet / Fake Book. 1 pages. Heidi Savoie #960874. Published by Heidi Savoie (A0.1376331). This is a lead sheet for any instrument for the song Almost May. Almost May - Theme and VariationsBackstory: Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, “Almost Mayâ€. Like springtime in the Northern Hemisphere, “Almost May†unfolds slowly and majestically, with ever-evolving layers for the senses to discover. What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. What to listen for: Variation I The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. What to listen for: Variation II The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax. Credits: I would like to thank Cole Canaday for the nuance, imagination and depth of understanding with which he brought this piece to life. I would also like to thank Blake Hamilton and Anastace for providing invaluable audio engineering feedback.
$2.99
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