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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
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FANFARE - BAND…
FLUTE A BEC
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FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
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HAUTBOIS
LIVRES
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MARIMBA
OCARINA
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XYLOPHONE
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Sheetmusicplus
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139
Piano & claviers
Piano seul
16
Orgue
7
Piano, Voix
7
Piano, Voix et Guitare
4
2 Pianos, 4 mains
2
Piano Facile
2
Instruments en Do
1
+ 2 instrumentations
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Ukulele
21
Guitare
1
Guitare notes et tablatures
1
Voix
Chorale SATB
37
Chorale 3 parties
15
Chorale TTBB
8
Chorale 2 parties
8
Chorale Unison
3
Chorale SSAA
2
Chorale
1
Voix Tenor
1
Voix moyenne, Piano
1
Voix Soprano, Piano
1
Chorale SSATB
1
+ 6 instrumentations
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Vents
Quatuor de Saxophones: 4 saxophones
8
Trio de Flûtes: 3 flûtes
7
Flûte, Hautbois, Clarinette, Basson
5
Saxophone Alto et Piano
4
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
3
Saxophone (partie séparée)
2
Saxophone Tenor et Piano
2
Flûte traversière
2
Saxophone Tenor
2
Saxophone Soprano et Piano
2
Hautbois, Piano (duo)
2
Quatuor de Flûtes : 4 flûtes
2
Saxophone Alto
2
Harmonica
1
Flûte à bec Soprano
1
5 Flûtes à bec
1
Ensemble de Flûtes
1
Clarinette
1
Quatuor de Clarinettes: 4 clarinettes
1
Clarinette et Piano
1
Flûte traversière et Piano
1
Clarinette et Alto
1
+ 17 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
6
Trompette, Piano
3
Quatuor de Cuivres
3
Trombone (partie séparée)
2
Trompette (partie séparée)
2
Trombone et Piano
2
Trompette
2
Quatuor de Cuivres : 2 trompettes, trombone, tuba
2
Trombone
1
Tuba
1
Cor et Piano
1
+ 6 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
36
Violon, Violoncelle (duo)
35
Trio à Cordes: 2 violons, violoncelle
18
Violoncelle
10
Violon
8
Trio à Cordes: violon, alto, violoncelle
7
Violon, Alto (duo)
4
Alto (partie séparée)
2
2 Violoncelles (duo)
2
Contrebasse (partie séparée)
2
Harpe, Voix
2
Violon (partie séparée)
2
Alto, Piano
1
Violoncelle (partie séparée)
1
2 Violons (duo)
1
Violon et Piano
1
+ 11 instrumentations
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Orchestre & Percussions
Cloches
16
Orchestre à Cordes
15
Orchestre
15
Orchestre d'harmonie
10
Orchestre de chambre
4
Jazz combo
4
Ensemble Jazz
3
Ensemble de cuivres
3
Percussion
1
Fanfare
1
+ 5 instrumentations
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CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
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EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
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VIELLE A RO…
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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
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PIANO
SAXOPHONE
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TROMPETTE
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METHODE : TECHNIQUES
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Vous avez sélectionné:
Go Music Group
SheetMusicPlus
Partitions à imprimer
8 partitions trouvées
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I'm Going To Go Back There Someday
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Chorale TTBB
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INTERMÉDIAIRE/AVANCÉ
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Kenny Ascher and Paul Williams
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Jon Smith
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I'm Going To Go Back There Som
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Jon Smith
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SheetMusicPlus
Choral Choir (TTBB) - Level 4 - SKU: A0.961882 Composed by Kenny Ascher and Paul Williams. Arranged by Jon Smith. A Cappella,Broadway,Film/TV,Jazz,Music...
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Choral Choir (TTBB) - Level 4 - SKU: A0.961882 Composed by Kenny Ascher and Paul Williams. Arranged by Jon Smith. A Cappella,Broadway,Film/TV,Jazz,Musical/Show,Pop. Octavo. 7 pages. Jon Smith #567599. Published by Jon Smith (A0.961882). This TTTBB Arrangement is great for intermediate to advanced groups.
$10.00
Go Tell It On The Mountain - Glee Club Arrangement
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Chorale TTBB
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INTERMÉDIAIRE
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Noël
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Kc Daugirdas
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Worship, Christmas
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Go Tell It On The Mountain - G
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Kc Daugirdas
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SheetMusicPlus
TTBB - Intermediate - Digital Download Arranged by Kc Daugirdas. Christian, Gospel, Spiritual, Praise & Worship, Christmas. Octavo. 6 pages. Publis...
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TTBB - Intermediate - Digital Download Arranged by Kc Daugirdas. Christian, Gospel, Spiritual, Praise & Worship, Christmas. Octavo. 6 pages. Published by Kc Daugirdas
This arrangement of the classic spiritual and holiday carol "Go Tell It On The Mountain" makes a strong statement right away, with powerful gospel harmonies in the introduction.
The verses and choruses pass around the main melody - from bass to tenor, to group, to a high-flying soloist.
The bridge introduces some new, original musical material to add variety to the centuries-old text, and things conclude with a keychange and a strong, satisfying, joyful finish.
There are homages to the barbershop style here as well - a vibrant tune for a Glee Club! A crowd-pleaser at holiday concerts.
$2.50
Born in Bethlehem (Downloadable Choral Score)
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Chorale TTBB
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FACILE
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Noël
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Musique Sacrée
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Gwyneth W
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Born in Bethlehem
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
TTBB choir, Bb clarinet, and piano - Moderately Easy - SKU: MQ.8797-E Composed by Gwyneth W. Walker. Christmas, Christmas-Sacred. 24 pages. Duration 4 m...
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TTBB choir, Bb clarinet, and piano - Moderately Easy - SKU: MQ.8797-E Composed by Gwyneth W. Walker. Christmas, Christmas-Sacred. 24 pages. Duration 4 minutes, 15 seconds. E. C. Schirmer Music Company - Digital #8797-E. Published by E. C. Schirmer Music Company - Digital (MQ.8797-E). English.“Born in Bethlehem†is a numbers song, similar to “The Twelve Days of Christmas.†Each group traveling to the Nativity, or associated with Jesus, is presented in ascending numerical order, from one to twelve. [“One for the little bitty Baby…Twelve for the Twelve Apostlesâ€] Once the complete set has been introduced, the numbers are performed in reverse order, in a frantic race (prestissimo) from twelve to one. This is an energetic song!The Clarinet plays a featured role, enhancing the message of the lyrics. For example, the phrase “Children, go where I send thee†is matched by the Clarinet scampering up a scale as children setting forth on a trip. And the next line, “How shall I send thee?†has the Clarinet/children coming back down the scale, returning home. Duration: 4:15.
$3.20
Can't Help Falling In Love
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Chorale TTBB
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Rock
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Rock
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Elvis Presley
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Jonathan Kilhams
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Can't Help Falling In Love
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Jonathan Kilhams
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SheetMusicPlus
Choral Choir (TTBB) - SKU: A0.943042 By Elvis Presley. By George David Weiss, Hugo Peretti, and Luigi Creatore. Arranged by Jonathan Kilhams. Rock. Octa...
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Choral Choir (TTBB) - SKU: A0.943042 By Elvis Presley. By George David Weiss, Hugo Peretti, and Luigi Creatore. Arranged by Jonathan Kilhams. Rock. Octavo. 9 pages. Jonathan Kilhams #4798035. Published by Jonathan Kilhams (A0.943042). About the piece Can't Help Falling in Love is a 1961 song recorded by American singer Elvis Presley for the album Blue Hawaii (1961). It was written by Hugo Peretti, Luigi Creatore, and George David Weiss and published by Gladys Music, Inc. (The melody is based on Plaisir d'amour, a popular French love song composed in 1784 by Jean-Paul-Égide Martini). The song was initially written for a woman as Can't Help Falling in Love with Him, which explains the first and third line ending on in and sin rather than words rhyming with you. Can't Help Falling in Love was featured in Presley's 1961 film Blue Hawaii. During the following four decades, it has been recorded by numerous other artists, including Bob Dylan on his 1973 album Dylan, Tom Smothers, Swedish pop group A-Teens, and the British reggae group UB40, whose 1993 version topped the U.S. and UK charts. Elvis Presley's version of the song topped the British charts in 1962, spending four weeks at no. 1. The single is certified Platinum by the RIAA, for US sales in excess of one million copies. In the United States, the song peaked at No. 2 on the US Billboard Hot 100 behind Joey Dee and the Starliters' Peppermint Twist and went to No. 1 on the Adult Contemporary chart for six weeks.About the arrangement This arrangement was inspired by the Elvis Presley version in 1962 and also the Pentatonix version recorded in 2017. It has been arranged for choirs that like to perform off by heart as the verse and chorus harmony are the same with very slight additions. The arrangement is for TTBB and piano and my thanks must go to Gareth Giles (pianist, organist, composer and arranger) who helped create the piano part for this arrangement. Duration: 3 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
Love Of My Life
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Chorale TTBB
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Queen
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Carolyn Goates
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Love Of My Life
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Carolyn Goates
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SheetMusicPlus
Choral Choir (TTBB) - SKU: A0.762521 By Queen. By Freddie Mercury and Frederick Mercury. Arranged by Carolyn Goates. A Cappella,Rock. Octavo. 4 pages. C...
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Choral Choir (TTBB) - SKU: A0.762521 By Queen. By Freddie Mercury and Frederick Mercury. Arranged by Carolyn Goates. A Cappella,Rock. Octavo. 4 pages. Carolyn Goates #3621535. Published by Carolyn Goates (A0.762521). This a capella arrangement of Freddie Mercury's beautiful song has tenor lead accompanied by close harmonies from the rest of the group..This arrangement has also been made for SSAA and SATBFor more information about my arrangements or to request practice tracks go to http://www.carolyngoatesmusic.co.uk and please LIKE on Facebook @carolyngoatesmusic
$2.49
Blue Moon
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Chorale TTBB
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FACILE
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Elvis Presley
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Thomas J
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Blue Moon
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Thomas J. West
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SheetMusicPlus
Choral Choir (TTBB) - Level 2 - SKU: A0.928359 By Elvis Presley. By Richard Rodgers. Arranged by Thomas J. West. A Cappella,Rock. Octavo. 7 pages. Thoma...
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Choral Choir (TTBB) - Level 2 - SKU: A0.928359 By Elvis Presley. By Richard Rodgers. Arranged by Thomas J. West. A Cappella,Rock. Octavo. 7 pages. Thomas J. West #5828197. Published by Thomas J. West (A0.928359). This TTBB a cappella arrangement with a tenor lead vocal is written as an homage to the beloved recording by The Marcels. It's the perfect song to introduce a high school tenor-bass ensemble to doo wop style and begs for finger snaps on beats 2 and 4. There's an optional upper harmony to go with the lead during the outro. This arrangement was originally performed by The Dreamers of Phi Mu Alpha a cappella group at Penn State University and taught completely by rote. Bass range is G2 to G3. Tenor 1 sits comfortably in falsetto on G4, F#4, and one A4. The lead and optional harmony have some Frankie Valli style melismas in the outro that range up to falsetto D5 and E5. www.thomasjwestmusic.com .
$1.99
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
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