English version
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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
VIOLONCELLE
XYLOPHONE
Not An Ending
Non classifié
337
Piano & claviers
Piano seul
190
Accompagnement Piano
91
Piano, Voix
58
Piano Facile
51
Piano, Voix et Guitare
11
Piano Trio: piano, violon, violoncelle
7
Orgue
7
1 Piano, 4 mains
4
Instruments en Do
3
Piano grosses notes
2
Piano (partie séparée)
1
2 Pianos, 4 mains
1
Piano Quatuor: piano, violon, alto, violoncelle
1
Piano Quatuor: piano, 2 violons, violoncelle
1
+ 9 instrumentations
Retracter
Guitares
Guitare notes et tablatures
275
Ukulele
24
Guitare
14
Basse electrique
2
Guitare (partie séparée)
2
Mandoline
1
Dulcimer
1
2 Guitares (duo)
1
Banjo
1
+ 4 instrumentations
Retracter
Voix
Chorale SATB
65
Chorale 3 parties
24
Voix Tenor, Piano
17
Chorale SSAA
12
Chorale 2 parties
11
Chorale Unison
10
Voix Soprano, Piano
9
Chorale TTBB
8
Voix Alto, Piano
7
Voix duo, Piano
4
Voix Tenor
4
Voix duo
3
Voix moyenne, Piano
2
Chorale
1
Voix Soprano
1
Voix haute
1
+ 11 instrumentations
Retracter
Vents
Flûte traversière et Piano
20
Quatuor de Saxophones: 4 saxophones
16
Flûte, Hautbois, Clarinette, Basson
12
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
11
Hautbois, Piano (duo)
9
Harmonica
7
Saxophone (partie séparée)
6
Saxophone Alto et Piano
6
Quatuor de Clarinettes: 4 clarinettes
6
Ensemble de Flûtes
6
Quatuor de Flûtes : 4 flûtes
5
Saxophone Tenor et Piano
5
Saxophone Soprano et Piano
4
Saxophone Baryton, Piano
4
Clarinette et Piano
4
Saxophone Alto
4
2 Flûtes traversières (duo)
3
3 Clarinettes (trio)
3
Quintette de Saxophone: 5 saxophones
3
3 Saxophones (trio)
3
Ensemble de Clarinettes
3
Ensemble de saxophones
2
Flûte traversière
2
2 Saxophones (duo)
2
Clarinette
2
Saxophone Tenor
2
Quintette de Flûte : 5 flûtes
2
Quintette de Clarinettes: 5 clarinettes
2
Flûte à bec Tenor
1
Hautbois (partie séparée)
1
Flûte à bec Soprano
1
Flute (partie séparée)
1
Clarinette, Orgue
1
Flûte, Clarinette (duo)
1
Flûte et Guitare
1
Cor Anglais
1
Cor anglais, Piano
1
Flûte, Basson et Piano
1
Trio de Flûtes: 3 flûtes
1
Ensemble à vent
1
2 Clarinettes (duo)
1
+ 36 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
21
Quatuor de Cuivres : 2 trompettes, trombone, tuba
12
Cor et Piano
7
Trompette
6
Trombone (partie séparée)
5
Trombone et Piano
4
Cor
4
Quatuor de Cuivres: 2 trompettes, Cor, trombone
3
Trompette (partie séparée)
3
Trompette, Piano
3
Trombone
3
Tuba
2
Quatuor de cuivres: 4 trombones
1
Euphonium, Piano (duo)
1
Cor Anglais
1
Cor anglais, Piano
1
2 Trompettes (duo)
1
Ensemble de Cors
1
Trio de Cuivres
1
Tuba (partie séparée)
1
Cor (partie séparée)
1
Euphonium
1
+ 17 instrumentations
Retracter
Cordes
Violon et Piano
48
Quatuor à cordes: 2 violons, alto, violoncelle
36
Violoncelle, Piano
23
Violon
9
Alto, Piano
9
Harpe
9
Violoncelle
6
Alto seul
5
2 Violons (duo)
3
Violon, Violoncelle (duo)
3
Trio à Cordes: violon, alto, violoncelle
3
Trio à Cordes: 2 violons, violoncelle
2
2 Violoncelles (duo)
2
Violon (partie séparée)
2
2 Altos (duo)
1
Alto et Harpe
1
Piano Trio: Violon, Alto, Piano
1
Harpe, Flûte (duo)
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Violon, Clarinette, Piano (trio)
1
Violon, Alto (duo)
1
Alto, Violoncelle (duo)
1
Contrebasse (partie séparée)
1
+ 18 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
50
Orchestre
32
Ensemble Jazz
30
Cloches
17
Orchestre à Cordes
11
Ensemble de cuivres
8
Jazz combo
7
Orchestre de chambre
6
Ensemble de Percussions
5
2 Xylophones
2
Batterie
1
Marimba
1
Xylophone, Piano
1
Fanfare
1
Batterie (partie séparée)
1
Percussion
1
+ 11 instrumentations
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FLUTE A BEC
FLUTE A DIX…
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HARMONICA
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HAUTBOIS
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LUTH, THEOR…
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MARIMBA
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ORGUE
OUD
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PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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
VIOLONCELLE
XYLOPHONE
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ASIE
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Vous avez sélectionné:
Not An Ending
Chorale TTBB
Partitions à imprimer
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1
The Story Of Reuben Clamzo & His Strange Daughter
Chorale TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…
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Choral Choir (TTBB) - Level 2 - Digital Download 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
3.68 €
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Chorale TTBB
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo & His Strange Daughter
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Edition Craig Hanson
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SheetMusicPlus
Don't Stop Me Now
Chorale TTBB
Choral Choir (TTBB) - Digital Download SKU: A0.856156 By Queen. By Freddie Mercury …
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Choral Choir (TTBB) - Digital Download SKU: A0.856156 By Queen. By Freddie Mercury and Frederick Mercury. Arranged by Liz Garnett. Rock. Octavo. 5 pages. Liz Garnett #3628565. Published by Liz Garnett (A0.856156). One of Queen’s all-time great feel-good songs. It is impossible to sing or hear this song without getting an immediate boost to your mood. Go on, try singing ‘I am a sex-machine’ without smiling. The arrangement follows the form of the original closely, including ending with a gradual fade-out. There is an optional cut if you don't feel like pretending to be Brian May on the guitar for the instrumental break, and an optional moment of a high 5th part, put in because a performer loved a particular guitar twiddle in the original.Vocal ranges:Tenor: B flat 3 – D5 (with alt note C3)Lead: F3 – B flat 4 (with alt note C3)Bari: F3 – G4 (with alt note C3)Bass: F2 – F#4A video of this arrangement in performance is available at: https://www.helpingyouharmonise.com/DontStop
$2.99
2.76 €
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Chorale TTBB
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Queen
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Liz Garnett
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Don't Stop Me Now
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Liz Garnett
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SheetMusicPlus
Can't Stop The Feeling from TROLLS
Chorale TTBB
Choral Choir,Choral (TTBB) - Level 3 - Digital Download SKU: A0.501986 By Justin Ti…
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Choral Choir,Choral (TTBB) - Level 3 - Digital Download SKU: A0.501986 By Justin Timberlake. By Johan Schuster, Justin Timberlake, Max Martin, and Shellback. Arranged by Timorell. A Cappella,Contest,Festival,Hip-Hop,Pop,R & B. 17 pages. Timorell #3594519. Published by Timorell (A0.501986). As performed by TONEWALL, the charismatic queer a cappella band of the New York City Gay Men's Chorus. Follow us! @tonewallnyc Instagram | Facebook | Tiktok | Youtube | email | website #queeracappella . Questions for the arranger? Volume pricing? Contact Timorell at tonewallnyc@gmail.com. An advanced intermediate-level a cappella cover of the classic Justin Timberlake song, close to the original funky style with an extended ending, good to get the audience clapping along. Written for male voices, some with high falsetto. Includes a breakdown section for basses in the middle. Also includes shout-out to 'Jus-tin' which can be tailored to most any two-syllable combo--we do 'New York!' Vocal percussion is considered a key component, though not notated, for a fully developed production.Video of the arrangement: https://youtu.be/tkyQTUK4rsQRange: low - (tessitura) - highT1: C4 - (G4) - E5 T2: A3 - (E4) - G4 Bari: F3 - (A3) - E4Bass: F2 - (D3) - C4
$2.00
1.84 €
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Chorale TTBB
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Justin Timberlake
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Timorell
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Can't Stop The Feeling from TROLLS
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Timorell
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SheetMusicPlus
Angel, Blow that Trumpet
Chorale TTBB
Choral Choir,Choral,TTBB Chorus - Level 3 - Digital Download SKU: A0.1445608 Compos…
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Choral Choir,Choral,TTBB Chorus - Level 3 - Digital Download SKU: A0.1445608 Composed by Ken Litton. Arranged by Ken Litton. Christian,Jazz,Religious,Sacred,Spiritual. 22 pages. Artist of Note, Inc. #1025450. Published by Artist of Note, Inc. (A0.1445608). Angel, Blow that TrumpetWords & Music by Ken Litton (ASCAP)TTBB Piano, opt. String Bass, Clarinet, Trumpet & TromboneMany choirs/ensembles haven't done many trumpet-feature songs in the last decade or so. But, since the trumpet figures so prominently in the Bible why not try one?! And, since both the anthems and contemporary worship songs of today tend to neglect the second coming of Christ here’s an offering from the spiritual/anthem/jazz confluence.Angel, Blow that Trumpet is based on I Corinthians 13:50-57 and I Thessalonians 4:13-18. The style? Well, let’s call it “Natalie Sleeth meets New Orleans jazz!”You’re almost sure to find the voicing very approachable, yet thrilling for SATB (TTBB and SSA also available).The accompaniment is a dixie-land styling originally conceived for piano, string bass/fretless electric bass/standard bass guitar (it would be fun to have someone do it on the “big bass viol”), Bb clarinet, trombone and Bb trumpet. These parts are included with the choral score.Above all, it's fairly easy to learn and fun to sing!The clarinet and trombone parts are a lot of fun and the trumpet part features an easily playable/adaptable ending that nails the piece (actually the lower version is really nice). Plus, with the single exception of swinging the eighth note pairs, there’s no improvisation required here. These parts are really best for good, legit players just as written.And, though I know that you have more than enough skill to get all of this from the score, the audio file in mp3 format (3:32) will also available separately.All this from the places you go for the best in downloadable resources:Sheet Music Directhttps://www.sheetmusicdirect.com/se/ID_No/1538200/Product.aspxSheet Music Plushttps://www.sheetmusicplus.com/en/explore?q=Ken+Litton&lang=defaultAs well as via Hal Leonard InStore™ retailers.Also…be sure to check out other titles from East of the Altar/Artist of Note, Inc.Thanks, as always to the good folks at ArrangeMe.com, a division of Hal Leonard.
$1.99
1.83 €
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Chorale TTBB
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Ken Litton
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Ken Litton
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Angel, Blow that Trumpet
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Artist of Note, Inc.
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SheetMusicPlus
Make Your Own Kind Of Music
Chorale TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.892463 By Mama Cass Elliot…
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Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.892463 By Mama Cass Elliot. By Barry Mann and Cynthia Weil. Arranged by LABBS Music Category. A Cappella. Octavo. 6 pages. LABBS - Ladies Association of British Barbershop Singers #4580047. Published by LABBS - Ladies Association of British Barbershop Singers (A0.892463). An uplifting song arranged by members of the LABBS Music Judging Category in 4 part close harmony transposed for men's voicings, in the barbershop style (internal melody). Sticking fairly close to the original, the arrangement features solos of each voicepart on the melody, and rousing homophonic choruses. The standard tag builds to a satisfying climax, with an optional extended tag that sends it through the roof! The arrangement is suitable for most male barbershop choruses and quartets as a fun, fairly quick learn for performance repertoire. Each voicepart is well within the standard barbershop ranges of most arrangements. Note: if you are unfamiliar with the scoring of male barbershop music, be aware the treble clef should be sung an octave lower than written, as designated by the 8 below the clef.This arrangement is not suitable for use in barbershop contests.This song and arrangement would also be a great choice for other genres of male choirs and a cappella quartets or ensembles, including high school / college / secondary school choirs wanting to try the barbershop style. It is a fun and modern song containing a strong and poignant message about not bending to peer pressure and being your own person and remaining true to yourself.
$2.49
2.3 €
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Chorale TTBB
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Mama Cass Elliot
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LABBS Music Category
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Make Your Own Kind Of Music
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LABBS - Ladies Association of British Barbershop Singers
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SheetMusicPlus
Pippo Non Lo Sa
Chorale TTBB
Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.1264702 Composed by Giusep…
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Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.1264702 Composed by Giuseppe Rastelli, Gorni Kramer, and Mario Panzeri. Arranged by Bacco Baccanels. 20th Century,A Cappella,Jazz. Octavo. 6 pages. Bacco Baccanels #857536. Published by Bacco Baccanels (A0.1264702). TTBB Version of the great song by Gorni Kramer.The arrangement is quite basic and is not barbershop like: there is one voice for the main melody (Tenor1) and three voices emulating the armonic infrastructure.(I made also a richer SAATTB version with additional staffs taken from a Pasquale Amico vocal arrangement).TTBB voices follow a simple arrangement: Soprano does the main melody and Tenor, Baritone and Bass do accompaniment: an easy bass line and two voices for the chords.Baritone and Bass often play upbeat in the first bars of most of the phrases (pretending to be guitars or trumpets) and turn to straight beat in the final measures.Tempo is fast, thus singing those upbeat at the right speed can be challenging: bear in mind slowing them down produces a global weakening of the entire song: I suggest Tenor2 and Baritone drink some coffee before singing...To add movement to an otherwise great and funny but simple structure, I added few bars to the original work, starting from bar 79 (F mark); here, pay attention to sing in sync, since the section is very rhythmic.Some background information about the song: written in 1939 under the fascist regime, Kramer was accused of making fun of the fascist hierarch Achille Starace, who used to walk upright in a black shirt, arousing the hilarity of the population. The song thus had to face the censorship of the regime, given that the allusion appeared quite clear.Many years after the composition, Gorni Kramer declared that the piece was inspired not by Starace but by the maestro Pippo Barzizza, with whom, in 1939, Kramer had had an argument during a performance at the Kursaal in Viareggio.
$4.00
3.69 €
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Chorale TTBB
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Giuseppe Rastelli, Gorni Kramer, and Mario Panzeri
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Bacco Baccanels
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Pippo Non Lo Sa
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Bacco Baccanels
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SheetMusicPlus
Elegy of a Man in Missouri
Chorale TTBB
Choral Choir,Choral (TTBB Chorus) - Level 3 - Digital Download SKU: A0.1493175 By C…
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Choral Choir,Choral (TTBB Chorus) - Level 3 - Digital Download SKU: A0.1493175 By Christopher Alexander. By Christopher Alexander. A Cappella,Contest,Festival,Folk. 12 pages. Christopher Alexander #1069838. Published by Christopher Alexander (A0.1493175). Reminiscent of the well-known folk song Wayfaring Stranger, this new choral song portrays another nomadic individual remaining optimistic and content while others see him seemingly empty around and within himself. The melody switches between voices as the piece escalates in intensity and lyric dramaticism, illustrated by the harmonizing voices creating a supportive accompaniment pattern in thebackground. The ending recapitulates the opening and resolves to an open resolution for the audience to ponder about its message. Ideal for high school and collegiate ensembles.
$2.99
2.76 €
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Chorale TTBB
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Christopher Alexander
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Elegy of a Man in Missouri
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Christopher Alexander
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SheetMusicPlus
The Leaves of the Fall
Chorale TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1244630 By John van Gulik.…
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Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1244630 By John van Gulik. By John van Gulik. Arranged by John van Gulik. Historic,Holiday,Patriotic. Octavo. 27 pages. John van Gulik #839583. Published by John van Gulik (A0.1244630). A moving remembrance of the young lives sacrificed in the First and Second World Wars defending our freedom. This is a setting to an original text by John van Gulik arranged for men's choir.The leaves on the ground are all broken and grayTheir color has gone taking glory awayOnset of winter will bury them allSuch is the season, the season of fall  Leaves of autumn, leaves of the fall  Millions of discarded parts of us all  Time will forget them, forget them it will  And yet they have fallen... The season of fallThe dead all all gone, we remember them stillLives given freely, buried under a hillResting in fields where the red poppies growMarkings are fading for those down belowCold sleeping life lays under the snowSlumbering gently while winter winds blowWaiting for springtime to finally comeMelting the cover, at last feel the sunVisions of future beyond paths of warHope that the world will see it no moreThe dead are not gone, just sleeping awayTo rise once again on that last dayLess now remembered except once a yearMemories are fading to soon disappearResting and waiting beneath the sodForgotten by living but still known to GodFor additional parts, accompaniment track, or other arrangements, contact me at vangulik.john@gmail.com or visit my website at https://jvgmusiconline.com.
$2.00
1.84 €
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Chorale TTBB
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John van Gulik
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John van Gulik
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The Leaves of the Fall
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John van Gulik
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SheetMusicPlus
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