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Crtitères actifs :
All-american Boy
Chorale TTBB
Partitions à imprimer
10 partitions trouvées
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1
The Story Of Reuben Clamzo & His Strange Daughter
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Chorale TTBB
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FACILE
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo &am
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Edition Craig Hanson
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SheetMusicPlus
Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edi...
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Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
(ghost) Riders In The Sky (a Cowboy Legend)
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Chorale TTBB
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FACILE
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Johnny Cash
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Anastasio Rossi
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(ghost) Riders In The Sky
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Anastasio Rossi
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SheetMusicPlus
Voice (TTBB) - Level 2 - SKU: A0.1298167 By Johnny Cash. By Stan Jones. Arranged by Anastasio Rossi. A Cappella,Barbershop. Barbershop Quartet. 6 pages....
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Voice (TTBB) - Level 2 - SKU: A0.1298167 By Johnny Cash. By Stan Jones. Arranged by Anastasio Rossi. A Cappella,Barbershop. Barbershop Quartet. 6 pages. Anastasio Rossi #888121. Published by Anastasio Rossi (A0.1298167). The song tells a folk tale of a cowboy who has a vision of red-eyed, steel-hooved cattle thundering across the sky, being chased by the spirits of damned cowboys. One warns him that if he does not change his ways, he will be doomed to join them, forever trying to catch the Devil's herd across these endless skies. Stan Jones said he was told the story when he was 12 years old, by an old Native American Apache. He related this story to a boyhood friend. As both boys were looking at the clouds one day, Stan shared the story with him, both looking in amazement as the cloudy shapes were identified as the ghost riders. Years later the story was transposed into lyrics. The melody is based on the Civil War-era popular song When Johnny Comes Marching Home.Ghost Riders In The Sky has a haunting quality that will capture the imaginations of children of all ages from young to old!Hundreds of performers have recorded this song, including Vaughn Monroe, Bing Crosby, Peggy Lee, Lawrence Welk, Frankie Laine, Burl Ives, The Outlaws, The Ramrods, Stan Jones, and Johnny Cash.Learning tracks and the Orchestral Accompniment Track (MP3) available at no cost from the arranger: AAR@prodigy.net.
$12.99
When Cockle Shells Turn Silver Bells from "Cowboy Songs of the American Southwest" [TTBB]
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Chorale TTBB
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INTERMÉDIAIRE
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Traditional
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Laurie Betts Hughes
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When Cockle Shells Turn Silver
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Dandelion Music Press
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SheetMusicPlus
Choral Choir (TTBB) - Level 3 - SKU: A0.891196 Composed by Traditional. Arranged by Laurie Betts Hughes. A Cappella,Contemporary,Folk,Traditional. Octav...
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Choral Choir (TTBB) - Level 3 - SKU: A0.891196 Composed by Traditional. Arranged by Laurie Betts Hughes. A Cappella,Contemporary,Folk,Traditional. Octavo. 5 pages. Dandelion Music Press #3103605. Published by Dandelion Music Press (A0.891196). Movement four of four Cowboy Songs of the American SouthwestThis fun-to sing TTBB a cappella concert arrangement set of regional folksongs are evocative of barbershop, concert, and a cappella styles and utilize some fun extended techniques in the second movement. Also appropriate for a versatile barbershop or men's quartet, upper HS level or above.These four cowboy songs that make up the song cycle Cowboy Songs of the American Southwest are among the nearly 3,000 field recordings recorded in the U.S. Southwest, Mexico and Spain collected by John Donald Robb over 40 year while at the University of New Mexico. These recordings preserve many of the musical traditions of these areas, especially New Mexico and Southern Colorado, and include Native American, Hispano, Mexican and African American music, as well as railroad and cowboy songs, fiddle music and the music of festivals and fiestas.I. The Call of the Range- Evocative of a carefree, lone cowboy singing while strumming his ukulele. Barbershop harmonies, similar to ukulele harmonies, suggest a personification of both the ukulele and the rangeland itself as a character in the unfolding drama of the seemingly solitary cowboy.II. I'm Sad and I'm Lonely- Whispered syllables and whistles evoke percussion and a bowed saw in this despondent tale of unrequited love and solitude.III. Wild Horse of the Desert- The melody fights with the downbeat to mimic the wild horse fighting against land rights and fencing.IV. When Cockle Shells Turn Silver Bells- An overly carefree, lighthearted shrug at lost love to embrace the lone cowboy lifestyle.Due to current restrictions of the John Donald Robb field recordings housed at the University of New Mexico, movements I. The Call of the Range and III. Wild Horse of the Desert are offered with permission and without charge with the purchase of public domain arrangements of II. I'm Sad and I'm Lonely and IV. When Cockle Shells Turn Silver Bells forming an entire song cycle. Movements II. and IV. are also available for purchase individually.2017 Choral Contest EntryLaurie Betts Hughes, ASCAP | www.LaurieBettsHughes.com
$2.10
I'm Sad and I'm Lonely, from "Cowboy Songs of the American Southwest" [TTBB]
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Chorale TTBB
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INTERMÉDIAIRE
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Traditional
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Laurie Betts Hughes
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I'm Sad and I'm Lonely, from &
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Dandelion Music Press
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SheetMusicPlus
Choral Choir (TTBB) - Level 3 - SKU: A0.891194 Composed by Traditional. Arranged by Laurie Betts Hughes. A Cappella,Contemporary,Folk,Traditional. Octav...
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Choral Choir (TTBB) - Level 3 - SKU: A0.891194 Composed by Traditional. Arranged by Laurie Betts Hughes. A Cappella,Contemporary,Folk,Traditional. Octavo. 6 pages. Dandelion Music Press #3103603. Published by Dandelion Music Press (A0.891194). Movement two of four Cowboy Songs of the American SouthwestThis fun-to sing TTBB a cappella concert arrangement set of regional folksongs are evocative of barbershop, concert, and a cappella styles and utilize some fun extended techniques in the second movement. Also appropriate for a versatile barbershop or men's quartet, upper HS level or above.These four cowboy songs that make up the song cycle Cowboy Songs of the American Southwest are among the nearly 3,000 field recordings recorded in the U.S. Southwest, Mexico and Spain collected by John Donald Robb over 40 year while at the University of New Mexico. These recordings preserve many of the musical traditions of these areas, especially New Mexico and Southern Colorado, and include Native American, Hispano, Mexican and African American music, as well as railroad and cowboy songs, fiddle music and the music of festivals and fiestas.I. The Call of the Range- Evocative of a carefree, lone cowboy singing while strumming his ukulele. Barbershop harmonies, similar to ukulele harmonies, suggest a personification of both the ukulele and the rangeland itself as a character in the unfolding drama of the seemingly solitary cowboy.II. I'm Sad and I'm Lonely- Whispered syllables and whistles evoke percussion and a bowed saw in this despondent tale of unrequited love and solitude.III. Wild Horse of the Desert- The melody fights with the downbeat to mimic the wild horse fighting against land rights and fencing.IV. When Cockle Shells Turn Silver Bells- An overly carefree, lighthearted shrug at lost love to embrace the lone cowboy lifestyle.Due to current restrictions of the John Donald Robb field recordings housed at the University of New Mexico, movements I. The Call of the Range and III. Wild Horse of the Desert are offered with permission and without charge with the purchase of public domain arrangements of II. I'm Sad and I'm Lonely and IV. When Cockle Shells Turn Silver Bells forming an entire song cycle. Movements II. and IV. are also available for purchase individually.2017 Choral Contest EntryLaurie Betts Hughes, ASCAP | www.LaurieBettsHughes.com
$2.10
Cowboy Songs of the American Southwest [TTBB]
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Chorale TTBB
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INTERMÉDIAIRE
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Traditional
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Laurie Betts Hughes
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Cowboy Songs of the American S
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Dandelion Music Press
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SheetMusicPlus
Choral Choir (TTBB) - Level 3 - SKU: A0.891193 Composed by Traditional. Arranged by Laurie Betts Hughes. A Cappella,Contemporary,Folk,Traditional. Octav...
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Choral Choir (TTBB) - Level 3 - SKU: A0.891193 Composed by Traditional. Arranged by Laurie Betts Hughes. A Cappella,Contemporary,Folk,Traditional. Octavo. 24 pages. Dandelion Music Press #3103597. Published by Dandelion Music Press (A0.891193). This fun-to sing TTBB a cappella concert arrangement set of regional folksongs are evocative of barbershop, concert, and a cappella styles and utilize some fun extended techniques in the second movement. Also appropriate for a versatile barbershop or men's quartet, upper HS level or above.These four cowboy songs that make up the song cycle Cowboy Songs of the American Southwest are among the nearly 3,000 field recordings recorded in the U.S. Southwest, Mexico and Spain collected by John Donald Robb over 40 year while at the University of New Mexico. These recordings preserve many of the musical traditions of these areas, especially New Mexico and Southern Colorado, and include Native American, Hispano, Mexican and African American music, as well as railroad and cowboy songs, fiddle music and the music of festivals and fiestas.I. The Call of the Range- Evocative of a carefree, lone cowboy singing while strumming his ukulele. Barbershop harmonies, similar to ukulele harmonies, suggest a personification of both the ukulele and the rangeland itself as a character in the unfolding drama of the seemingly solitary cowboy.II. I'm Sad and I'm Lonely- Whispered syllables and whistles evoke percussion and a bowed saw in this despondent tale of unrequited love and solitude.III. Wild Horse of the Desert- The melody fights with the downbeat to mimic the wild horse fighting against land rights and fencing.IV. When Cockle Shells Turn Silver Bells- An overly carefree, lighthearted shrug at lost love to embrace the lone cowboy lifestyle.Due to current restrictions of the John Donald Robb field recordings housed at the University of New Mexico, movements I. The Call of the Range and III. Wild Horse of the Desert are offered with permission and without charge with the purchase of public domain arrangements of II. I'm Sad and I'm Lonely and IV. When Cockle Shells Turn Silver Bells forming an entire song cycle. Movements II. and IV. are also available for purchase individually.2017 Choral Contest EntryLaurie Betts Hughes, ASCAP | www.LaurieBettsHughes.com
$4.20
All-american Boy
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Chorale TTBB
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INTERMÉDIAIRE/AVANCÉ
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Steven Frederick Grand
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Eric Knechtges
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All-american Boy
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Eric T Knechtges
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SheetMusicPlus
Choral Choir (TTBB) - Level 4 - SKU: A0.1236179 Composed by Steven Frederick Grand. Arranged by Eric Knechtges. Country,Pop. Octavo. 15 pages. Eric T Kn...
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Choral Choir (TTBB) - Level 4 - SKU: A0.1236179 Composed by Steven Frederick Grand. Arranged by Eric Knechtges. Country,Pop. Octavo. 15 pages. Eric T Knechtges #831689. Published by Eric T Knechtges (A0.1236179). TTBB arrangement. Whole step lower than the original.
$1.99
I Want It That Way (Tell Me Why) TTBB - arr. Julien Neel
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Chorale TTBB
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INTERMÉDIAIRE
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Pop musique
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The Backstreet Boys
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Julien Neel
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I Want It That Way
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Julien Neel
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SheetMusicPlus
By The Backstreet Boys. Arranged by Julien Neel. Score. 7 pages. Published by Julien Neel (Trudbol) ...
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By The Backstreet Boys. Arranged by Julien Neel. Score. 7 pages. Published by Julien Neel (Trudbol)
"I Want It That Way" is a 1999 hit song by American boy band the Backstreet Boys on their third studio album Millennium. Their catchy pop ballad was nominated for three Grammy Awards, and reached the number-one spot in more than 25 countries.
This original 4-part a cappella arrangement for male voices will be the perfect addition to your show repertoire. With melody sung by Tenor 2 (A.K.A. "Lead" in the barbershop quartet setting), it will stay comfortable for all the singers, while keeping the energy and feeling strong for the audience.
$5.00
Don't Stop Believin'
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Chorale TTBB
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INTERMÉDIAIRE
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Journey
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Charles Beale
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Don't Stop Believin'
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charliebmusic
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SheetMusicPlus
Choral Choir (TTBB) - Level 3 - SKU: A0.865867 By Journey. By Jonathan Cain, Neal Schon, and Steve Perry. Arranged by Charles Beale. A Cappella,Rock. Oc...
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Choral Choir (TTBB) - Level 3 - SKU: A0.865867 By Journey. By Jonathan Cain, Neal Schon, and Steve Perry. Arranged by Charles Beale. A Cappella,Rock. Octavo. 12 pages. Charliebmusic #5297905. Published by charliebmusic (A0.865867). Originally a massive rock anthem in the early '80s, Don't Stop Believing re-emerged in the 2000s thanks to the TV show 'Glee', which re-established the song as a timeless classic that resonates across the generations. It tells the all-American story of the small-town boy who never gives up, and starts with that guitar solo.This upbeat TTBB arrangement sticks largely to the original rock textures but includes extensive nods to a cappella vocal textures. Suitable as a energetic and potentially spectacular show opener or singalong.
$1.99
Africa
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Chorale TTBB
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INTERMÉDIAIRE
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Rock
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Toto
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Jonathan Kilhams
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Africa
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Jonathan Kilhams
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SheetMusicPlus
Choral Choir (TTBB) - Level 3 - SKU: A0.943040 By Toto. By David Paich, Jeff Porcaro, Prince Lamont Board Priese, and Robin Dimaggio. Arranged by Jonath...
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Choral Choir (TTBB) - Level 3 - SKU: A0.943040 By Toto. By David Paich, Jeff Porcaro, Prince Lamont Board Priese, and Robin Dimaggio. Arranged by Jonathan Kilhams. Pop,Rock. Octavo. 18 pages. Jonathan Kilhams #4797945. Published by Jonathan Kilhams (A0.943040). About the pieceAfrica is a song by the American rock band Toto. It was included on their 1982 album Toto IV, and released as a single on September 30, 1982. It reached number one on the US Billboard Hot 100 chart on February 5, 1983 (the band's only number one there), and number three on the UK Singles Chart the same month.The initial idea and words for the song came from David Paich. Jeff Porcaro explains the idea behind the song: a white boy is trying to write a song on Africa, but since he's never been there, he can only tell what he's seen on TV or remembers in the past.Paich said: At the beginning of the '80s I watched a late night documentary on TV about all the terrible death and suffering of the people in Africa. It both moved and appalled me, and the pictures just wouldn't leave my head. I tried to imagine how I'd feel about if I was there and what I'd do.In 2015, Paich explained the song is about a man's love of a continent, Africa, rather than just a personal romance. In 2018, Paich explained the song is about a person flying in to meet a lonely missionary. As a child, Paich attended a Catholic school. Several of the teachers had done missionary work in Africa, and this became the inspiration behind the line I bless the rains down in Africa.About the arrangementI have tried to keep as much of the original material used by Toto as possible, within the confines of a male voice choir arrangement. The arrangement is for TTBB and piano and can include sound effects made by the choir at the beginning to imitate rain and a thunderstorm. A bongo/djembe drum can be played through the choruses to add more of an African percussive feel. My thanks must go to Gareth Giles who helped create the piano part for this arrangement.Duration: 4 minsAdditional Parts & Social MediaIf you require any additional learning parts or rehearsal tracks then please contact me directly through www.jonathankilhams.com. I am also on Facebook, Twitter and Instagram so please let me know if your choir are planning to sing my arrangement - it is always nice to know where in the world it is being performed. Facebook: @johnnykilhamsmusicTwitter: @Johnny_KilhamsInstagram: @johnnykilhamsmusic
$5.00
Deep In The Heart Of Texas
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Chorale TTBB
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FACILE
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Alvino Rey & His Orchestra
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D
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Deep In The Heart Of Texas
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Tully Road Music
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SheetMusicPlus
Choral Choir,Choral (TTBB) - Level 2 - SKU: A0.1346931 By Alvino Rey & His Orchestra. By Don Swander and June Hershey. Arranged by D. Jason Bishop. 20th...
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Choral Choir,Choral (TTBB) - Level 2 - SKU: A0.1346931 By Alvino Rey & His Orchestra. By Don Swander and June Hershey. Arranged by D. Jason Bishop. 20th Century,Country,Pop,Standards. 8 pages. Tully Road Music #931718. Published by Tully Road Music (A0.1346931). The 1941 classic “Deep in the Heart of Texas†is an American popular song about the state of Texas with lyrics by June Hershey and music by Don Swander. It has been recorded in multiple versions, five of which were on the Billboard charts in 1942. Several university bands in Texas perform the song before football games including the University of Texas Longhorn Band and the Texas Christian University Horned Frog Marching Band, and country music singer and native Texan George Strait has the song played before he takes the stage at concerts. This simple version for TTBB voices and piano was arranged by D. Jason Bishop for the Texas Boys Choir.
$2.00
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All-american Boy