English version
Parcourir Free-scores.com
--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
Through the Years
Non classifié
242
Piano & claviers
Piano seul
136
Piano, Voix
114
Piano Facile
44
Accordéon
34
Piano, Voix et Guitare
32
Instruments en Do
11
1 Piano, 4 mains
5
Orgue
5
Accompagnement Piano
3
Piano Trio: piano, violon, violoncelle
3
2 Pianos, 4 mains
2
Piano (partie séparée)
2
Piano grosses notes
2
Clavier
1
Accordéon, Voix
1
Piano Quatuor: piano, violon, alto, violoncelle
1
+ 11 instrumentations
Retracter
Guitares
Guitare
21
Ligne De Mélodie, (Paroles) et Accords
9
Ukulele
8
Guitare notes et tablatures
7
Basse electrique
3
Banjo
2
Paroles et Accords
2
Piano, Guitare (duo)
1
Mandoline
1
Guitare, Orchestre
1
Dobro
1
+ 6 instrumentations
Retracter
Voix
Chorale SATB
70
Chorale Unison
27
Chorale 3 parties
16
Voix Alto, Piano
9
Chorale TTBB
9
Chorale 2 parties
6
Voix duo, Piano
4
Chorale SSAA
4
Voix Tenor, Piano
2
Chorale
1
Voix duo
1
Voix haute
1
Voix Tenor
1
Voix basse
1
Voix Baryton, Piano
1
+ 10 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
15
Flûte, Hautbois, Clarinette, Basson
13
Flûte traversière
10
Quatuor de Saxophones: 4 saxophones
9
Clarinette (partie séparée)
7
Clarinette
7
Saxophone Alto
7
Saxophone Tenor
6
Saxophone (partie séparée)
5
Quatuor de Flûtes : 4 flûtes
5
Clarinette et Piano
5
Flûte à bec Soprano
4
Flute (partie séparée)
4
2 Saxophones (duo)
3
Hautbois (partie séparée)
3
Quintette de Clarinettes: 5 clarinettes
3
Saxophone Soprano
2
Flûte traversière et Piano
2
Flûte, Alto et Piano
2
Hautbois, Piano (duo)
2
Saxophone Soprano et Piano
2
Flûte et Trio à cordes
1
3 Saxophones (trio)
1
Saxophone Baryton, Piano
1
Flûte, Violon, Piano
1
Saxophone Alto et Piano
1
Saxophone et Orgue
1
Saxophone Tenor et Piano
1
Ensemble de Clarinettes
1
+ 24 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
57
Ensemble de Trompettes
33
Trompette
15
Trombone (partie séparée)
13
Trompette (partie séparée)
13
Cor (partie séparée)
8
Trombone
7
Cor
5
Quatuor de Cuivres : 2 trompettes, trombone, tuba
4
Tuba et Piano
2
Trompette, Piano
2
3 Trompettes (trio)
2
Trompette, Trombone (duo)
2
Tuba
2
Quatuor de cuivres: 4 trompettes
1
Cor et Piano
1
Quatuor de cuivres: 4 trombones
1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
Trombone basse
1
Trombone et Piano
1
Tuba (partie séparée)
1
Trombone basse et Piano
1
+ 17 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
26
Violon
19
Violon et Piano
14
Violoncelle
11
Alto seul
7
Harpe
6
Violon (partie séparée)
5
Alto, Piano
5
Violon, Alto (duo)
4
Violoncelle, Piano
4
Piano Trio: Violon, Alto, Piano
3
4 Violoncelles
3
Violon, Guitare (duo)
3
Contrebasse (partie séparée)
3
Trio à Cordes: 2 violons, alto
3
Contre Basse
3
Violon, Violoncelle (duo)
3
2 Violons (duo)
2
Alto (partie séparée)
2
Trio à cordes: 3 violins
2
Violoncelle (partie séparée)
2
Quatuor à cordes : 4 altos
1
Trio à Cordes: 2 violons, violoncelle
1
Violon, Clarinette, Piano (trio)
1
Harpe (partie séparée)
1
4 Harpes
1
Trio à Cordes: violon, alto, violoncelle
1
Violoncelle, Orgue
1
Quatuor à cordes: 4 violons
1
2 Violoncelles (duo)
1
+ 25 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
71
Orchestre d'harmonie
46
Orchestre
32
Ensemble Jazz
25
Ensemble de cuivres
15
Orchestre de chambre
13
Percussion (partie séparée)
5
Cloches
5
Batterie
2
Caisse Claire
1
Marimba
1
Timbales (partie séparée)
1
Fanfare
1
Piano et Orchestre
1
Jazz combo
1
+ 10 instrumentations
Retracter
Autres
Formation musicale - Solfège
6
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
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
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
Page d'accueil
Instrumentations
Top Téléchargements
Compositeurs
Nouveautés
Partitions de Noël
Genres Musicaux
Genres Musicaux
Autres Services
Autres Services
Top 100
Portées musicales
Metronome
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions
Gratuites
409
Partitions
Numériques
1 511
Librairie
Musicale
1 643
Matériel
de Musique
112
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← INSTRUMENTATIONS
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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Vous avez sélectionné:
Through the Years
Partitions à imprimer
1 511 partitions trouvées
<
1
26
51
....
1501
The Story Of Reuben Clamzo & His Strange Daughter
Chorale TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…
(+)
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
3.66 €
#
Chorale TTBB
#
Arlo Guthrie
#
Craig Hanson
#
The Story Of Reuben Clamzo & His Strange Daughter
#
Edition Craig Hanson
#
SheetMusicPlus
Two Scenes from The Rubáiyát of Omar Khayyám (Trio for Bb Clarinet, Violin and Piano)
Violon, Clarinette, Piano (trio)
B-Flat Clarinet,Piano,Violin - Level 5 - Digital Download SKU: A0.1208741 Composed …
(+)
B-Flat Clarinet,Piano,Violin - Level 5 - Digital Download SKU: A0.1208741 Composed by Adam Lenhart. Chamber,Classical,Contemporary,Contest,Festival. 33 pages. Adam Lenhart #806841. Published by Adam Lenhart (A0.1208741). Introduction to The Rubáiyát of Omar KhayyámThe Rubaiyat of Omar Khayyam is a Persian poetry collection first put together in 1460 in Shiraz.  It consists of quatrains, four-line poems, with a set of unconventional themes.  The poetry is irreligious and questions the afterlife and God's providence.  It shows keen awareness of the shortness of life and the finality of death. It advises therefore that every fleeting moment of every day should be savored, with wine, lovers and song. The combination of a serious philosophy of life and a carefree attitude has made the poetry popular for centuries.  In 1859, Edward FitzGerald brought out a loose English translation that took the world by storm.  It became the most beloved and widely known poem in the English language for decades until its popularity finally faded in the late twentieth century. Although they were attributed to the great mathematician and astronomer, Omar Khayyam (d. 1131), the poems were by many anonymous hands, and he was just a frame author, akin to Scheherezade in the Arabian Nights.- Dr. Juan Cole, Richard P. Mitchell Collegiate Professor of History at the University of MichiganAbout the CompositionTwo Scenes from The Rubáiyát of Omar Khayyám explores and embodies two of the main themes that carry throughout the quatrains of the poem collection. In FitzGerald's translation, the quatrains follow a day to night cycle. The two movements reflect this by starting off with an abrupt wake up section and ending the piece with a nocturne.  The first movement, Wine, celebrates the camaraderie, joy and chaos that comes through the physical joy of being with friends. The clarinet, violin and piano interact in a conversational way, talking, laughing, and insulting one another in their own independent lines.The second movement is entitled Intimacy and explores the emotional joy of connecting with one another. The movement is set in a waltz style dance and draws influence from Chopin, Liszt and other romantic era composers. This is juxtaposed by youthful and energetic phrases so that the piece embodies all forms of love: young love, years of marriage and even friendship. Each movement has a sense of urgency and density which is present in the rubá'iyát as well, expressing to the reader that our time on Earth is so short and to make the most of each day.---------------------------Adam Lenhart (b. 2002) is a University of Michigan student of music theory, composition, voice and organ from Ottawa Lake, Michigan. As a theorist, his areas of study vary widely, including 18th century counterpoint, the early American Sacred Harp tradition, and impressionism. As a composer, his music draws inspiration from nature, mathematics and poetry. In 2020 he was awarded the Michigan Music Education Association’s Young Composers of Michigan award, as well as first prize in the University of Toledo Young Composers competition. Lenhart has also participated in numerous ensembles across Michigan, including the MYAF All-State Choir, Tecumseh Pops Orchestra, University of Michigan Men’s Glee Club and the SMTD University Choir. He thoroughly enjoys collaboration with other composers, performers, poets and visual artists. Some of his recent projects include collaborations with individuals from the University of Michigan Chamber Music, History, and Poetry departments.
$14.99
13.75 €
#
Violon, Clarinette, Piano (trio)
#
Adam Lenhart
#
Two Scenes from The Rubáiyát of Omar Khayyám
#
Adam Lenhart
#
SheetMusicPlus
Another Day
Voix Alto, Piano
Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859660 Composed by Sydne…
(+)
Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859660 Composed by Sydney Stevens. Country,Folk,New Age,Pop. 7 pages. Sydney Stevens, Water Music #2942889. Published by Sydney Stevens, Water Music (A0.859660). Contact: sydneystevenspianostudio@gmail.comAnother Day: Refreshing, passionate piano/vocal composed by Sydney Stevens (ASCAP). Sheet music arrangement is for piano/vocal/chords.Sounds like: Christina Perri, Enya, Judy CollinsFrom Album: Cycles of Life Theme: New love, love's longing. Mood: Passionate, romantic, heartfelt. Musical Traits: Strong melody in right hand piano that reflects the vocal line. Performance Time: 3:41 Sydney Stevens music is available on: Pandora, Spotify, iTunes, Amazon, Whisperings Solo Piano Radio, AllMusic More Links: www.sydneystevenswatermusic.com http://www.linkedin.com/in/sydney-stevens-532a113a BIOGRAPHY:Sydney Stevens began writing melodies on the piano before she could reach the pedals. Her earliest memory was watching her mother play classical piano. She began piano lessons at the age of 8, and started composing shortly thereafter.Stevens approaches her compositions as an artist. She paints musical portraits of the things that bring meaning to life: relationship to living things, emotional healing, discovering what matters most and honoring that as best we are able. Stevens' beautiful piano-based music aligns one with their own heart. Although some of her music can be described as New Age, her roots are heavily based in classical and jazz. Her study of classical composition makes her music more complex than some New Age music. Her music has been likened to the impressionistic composers such as Claude Debussy. Sydney's formal training is also reflected in her ability to compose for orchestral instruments. Her latest release, Cycles of Life, was solely recorded and produced by Sydney, programming all of the virtual instruments.Sydney has a great love for jazz. Keith Jarrett was an influence on her with his innovative and improvisational piano recordings and performances. She was particularly impressed with the freedom of style he portrayed in his performances. Bill Evans was something Sydney heard played as a young child. Where her mother was a classical pianist, her father was a jazz pianist. Perhaps that's why some of Sydney’s music can be described as a crossover between classical and jazz--remnants from those early years. Joni Mitchell and Judy Collins were big inspirations for Sydney's songwriting. She was especially drawn to the deeply emotional lyrics in many of their songs.Cycles of Life, the title track from Sydney's current release, was composed for her late step dad. The song is about the cycle of birth and death: Cycles of life go on, yet we carry all that we've known and loved through the ages. Time, another track on Sydney's current release, is a song about how time passes more quickly when we are doing something we cherish. Brian's Song, inspired by the loss of her father-in-law, reflects: All that really matters is the way we fill our heart, and the ways that it has loved. Dawn, a track from Sydney's album Seasons, is a beautiful piano-based instrumental with light string background. It portrays that very peaceful hour as the sun slowly lights up the world -- the hour of dawn.Sydney is a poet. She sees the world through a heart that feels the joy and sorrow of the world and those she meets. Her gift is the ability to transfer that emotion into music. Listening to her music is like taking a journey. She delves into depths of emotion, often taking the listener to places that can be difficult to go without the comfort of a beautiful song to accompany them.In addition to being a prolific composer, Stevens runs a.
$4.95
4.54 €
#
Voix Alto, Piano
#
Sydney Stevens
#
Another Day
#
Sydney Stevens, Water Music
#
SheetMusicPlus
Faithfulness through the years
Piano, Voix
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1015919 By Thea Wray. By Alt…
(+)
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1015919 By Thea Wray. By Althea Wray. Arranged by Althea Wray. Contemporary,Praise & Worship,Spiritual. Score. 1 pages. Water II Wine Publishing #6104807. Published by Water II Wine Publishing (A0.1015919). Written for the 2018 motto verse for Rye Lane Chapel as it celebrated 200 years of ministry in Peckham .
$2.99
2.74 €
#
Piano, Voix
#
Thea Wray
#
Althea Wray
#
Faithfulness through the years
#
Water II Wine Publishing
#
SheetMusicPlus
The River
Voix Alto, Piano
Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859664 Composed by Sydne…
(+)
Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859664 Composed by Sydney Stevens. Country,Folk,Pop,Wedding. 8 pages. Sydney Stevens, Water Music #2949779. Published by Sydney Stevens, Water Music (A0.859664). Contact: sydneystevenspianostudio@gmail.comThe River: Uplifting piano/vocal by Sydney Stevens (ASCAP). Sheet music arrangement is for piano/vocal/chords.Sounds like: Dar Williams, Judy Collins, Christina PerriFrom Album: Cycles of Life Theme: Long awaited true love, new love.Mood: Happy, romantic, inspired.Musical Traits: Broken chords in the left hand piano, right hand melody that reflects the vocal line.Performance Time: 3:17Sydney Stevens music is available on: Pandora, Spotify, iTunes, Amazon, Whisperings Solo Piano Radio, AllMusicMore Links: www.sydneystevenswatermusic.com http://www.linkedin.com/in/sydney-stevens-532a113aBIOGRAPHY:Sydney Stevens began writing melodies on the piano before she could reach the pedals. Her earliest memory was watching her mother play classical piano. She began piano lessons at the age of 8, and started composing shortly thereafter.Stevens approaches her compositions as an artist. She paints musical portraits of the things that bring meaning to life: relationship to living things, emotional healing, discovering what matters most and honoring that as best we are able. Stevens' beautiful piano-based music aligns one with their own heart. Although some of her music can be described as New Age, her roots are heavily based in classical and jazz. Her study of classical composition makes her music more complex than some New Age music. Her music has been likened to the impressionistic composers such as Claude Debussy. Sydney's formal training is also reflected in her ability to compose for orchestral instruments. Her latest release, Cycles of Life, was solely recorded and produced by Sydney, programming all of the virtual instruments.Sydney has a great love for jazz. Keith Jarrett was an influence on her with his innovative and improvisational piano recordings and performances. She was particularly impressed with the freedom of style he portrayed in his performances. Bill Evans was something Sydney heard played as a young child. Where her mother was a classical pianist, her father was a jazz pianist. Perhaps that's why some of Sydney’s music can be described as a crossover between classical and jazz--remnants from those early years. Joni Mitchell and Judy Collins were big inspirations for Sydney's songwriting. She was especially drawn to the deeply emotional lyrics in many of their songs.Cycles of Life, the title track from Sydney's current release, was composed for her late step dad. The song is about the cycle of birth and death: Cycles of life go on, yet we carry all that we've known and loved through the ages. Time, another track on Sydney's current release, is a song about how time passes more quickly when we are doing something we cherish. Brian's Song, inspired by the loss of her father-in-law, reflects: All that really matters is the way we fill our heart, and the ways that it has loved. Dawn, a track from Sydney's album Seasons, is a beautiful piano-based instrumental with light string background. It portrays that very peaceful hour as the sun slowly lights up the world -- the hour of dawn.Sydney is a poet. She sees the world through a heart that feels the joy and sorrow of the world and those she meets. Her gift is the ability to transfer that emotion into music. Listening to her music is like taking a journey. She delves into depths of emotion, often taking the listener to places that can be difficult to go without the comfort of a beautiful song to accompany them.In addition to being a prolific composer,.
$4.95
4.54 €
#
Voix Alto, Piano
#
Sydney Stevens
#
The River
#
Sydney Stevens, Water Music
#
SheetMusicPlus
Back to the Heart
Voix Alto, Piano
Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859668 Composed by Sydne…
(+)
Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859668 Composed by Sydney Stevens. Folk,New Age,Pop. 7 pages. Sydney Stevens, Water Music #2959571. Published by Sydney Stevens, Water Music (A0.859668). Contact: sydneystevenspianostudio@gmail.comBack to the Heart: Emotional, heartfelt piano/vocal composed by Sydney Stevens (ASCAP). Sheet music arrangement is for piano/vocal/chords. From Album: Cycles of Life Theme: Going away, the sister that I know. Estrangement from someone who was once close. Mood: Serious, reflective, sad, emotionally moving. Musical Traits: Simple left hand piano, right hand reflects vocal part. Performance Time: 3:50 Sydney Stevens music is available on: Pandora, Spotify, iTunes, Amazon, Whisperings Solo Piano Radio, AllMusic More Links: www.sydneystevenswatermusic.comhttp://www.linkedin.com/in/sydney-stevens-532a113a BIOGRAPHY:Sydney Stevens began writing melodies on the piano before she could reach the pedals. Her earliest memory was watching her mother play classical piano. She began piano lessons at the age of 8, and started composing shortly thereafter.Stevens approaches her compositions as an artist. She paints musical portraits of the things that bring meaning to life: relationship to living things, emotional healing, discovering what matters most and honoring that as best we are able. Stevens' beautiful piano-based music aligns one with their own heart. Although some of her music can be described as New Age, her roots are heavily based in classical and jazz. Her study of classical composition makes her music more complex than some New Age music. Her music has been likened to the impressionistic composers such as Claude Debussy. Sydney's formal training is also reflected in her ability to compose for orchestral instruments. Her latest release, Cycles of Life, was solely recorded and produced by Sydney, programming all of the virtual instruments.Sydney has a great love for jazz. Keith Jarrett was an influence on her with his innovative and improvisational piano recordings and performances. She was particularly impressed with the freedom of style he portrayed in his performances. Bill Evans was something Sydney heard played as a young child. Where her mother was a classical pianist, her father was a jazz pianist. Perhaps that's why some of Sydney’s music can be described as a crossover between classical and jazz--remnants from those early years. Joni Mitchell and Judy Collins were big inspirations for Sydney's songwriting. She was especially drawn to the deeply emotional lyrics in many of their songs.Cycles of Life, the title track from Sydney's current release, was composed for her late step dad. The song is about the cycle of birth and death: Cycles of life go on, yet we carry all that we've known and loved through the ages. Time, another track on Sydney's current release, is a song about how time passes more quickly when we are doing something we cherish. Brian's Song, inspired by the loss of her father-in-law, reflects: All that really matters is the way we fill our heart, and the ways that it has loved. Dawn, a track from Sydney's album Seasons, is a beautiful piano-based instrumental with light string background. It portrays that very peaceful hour as the sun slowly lights up the world -- the hour of dawn.Sydney is a poet. She sees the world through a heart that feels the joy and sorrow of the world and those she meets. Her gift is the ability to transfer that emotion into music. Listening to her music is like taking a journey. She delves into depths of emotion, often taking the listener to places that can be difficult to go without the comfort of a beautiful song to accompany them.In addition to being a prolific.
$4.95
4.54 €
#
Voix Alto, Piano
#
Sydney Stevens
#
Back to the Heart
#
Sydney Stevens, Water Music
#
SheetMusicPlus
The Snow Queen, A Ballet in 3 Acts, PIANO VOCAL SCORE
Choral Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.730418 Composed by Ja…
(+)
Choral Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.730418 Composed by James Nathaniel Holland. Children,Christmas,Contemporary,Holiday. Score. 150 pages. James Nathaniel Holland #3376293. Published by James Nathaniel Holland (A0.730418). The Piano Vocal Score (with SA Chorus) New Contemporary Classical Music from American Costa Rican composer James Nathaniel Holland in his masterful ballet adaptation of Hans Christian Andersen's classic tale, The Snow Queen. Ballet yet to be premiered. Be the first to produce it! Highlights are The Dance of the Evil Snow Sprite and the Distorted Mirror, Innocence and Kai and Gerde's Special Friendship, The Waltz of the Roses ('Think of my love as a Rose'), The Waltz of the Snowflakes (Snowbees), Gerde Morns Kai's Death, The Suite of the Lady of Spring (Tale of the Tiger Lillies, The Dream of the Morning Glories, The Tale of the Snowdrops, the Hyacinth's Tale), The Waltz of the Summer Palace, Dance of the Thieves and Kai's Joyous Dance Finale. Ballet Synopsis: Evil Snow Sprites make a mirror that reflects all that is mean and evil. When it shatters, its splinters drift to the far corners of the world. Gerde and Kai are two poor children who live in Copenhagen in the early 19th Century. They live innocently with their parents and Grandmother and tend a rooftop rose garden. One winter night Kai meets the Snow Queen and a splinter from the mirror enters his eye. The Snow Queen returns and abducts Kai. Although accepted as dead, Gerde deeply feels otherwise and begins her quest to find her friend, traveling through the four seasons, sometimes beautiful and sometimes frightening. The Lady of Spring takes her as an addition to her fantastical garden filled with tales and dreams of the flowers who dwell there. But when Gerde sees the rose on Spring's bonnet she wakes from her enchantment. Her tears spring back the roses who tell her Kai is not dead. She flees from the garden. Gerde grows up in the wilderness and a crow says that he has seen Kai at the Palace of the Queen of Summer. They hurry there to find a magnificent ball in progress. Gerde is introduced to the Kai lookalike but knows something is not right. The Queen of Summer helps Gerde on her way and lends her a coach and gives her a magic red rose that will never fade.As coach searches for Kai, it enters the season of Autumn and is accosted by robber girl and a band of theives. They dance in an rousing, energetic dance taunting her. When the morning comes Gerde tells her fellow captive animals of her quest to find Kai and that all hope is lost. The pigeons finally tell Gerde that Kai was abducted by the Snow Queen many years ago. The robber girl overhears them and has a change of heart letting her go with her reindeer to the far North of the Snow Queen.Gerde finds Kai in the palace of the Snow Queen piecing together the evil mirror. She gives Kai up for dead but leaves the rose of summer beside him. Kai spots the rose and he sheds a tear. The splinter falls out and he completes the mirror.They head back for home to their families were there is a big finale of a beautiful wedding on a late summer day and live happily ever after.YouTube Complete Ballet presentation: https://youtu.be/-zDAJ-Ttw70Composer website: http://lacoronadelossantos.net/jamesnathanielholland.htmlTwo part performance CDs sold separately. Full score and parts sold separately. Many arrangements of the Waltz of the Roses ('Think of my love as a Rose'), The Lady of Spring and her Garden, and the Waltz of the Summer Palace sold separately. Orchestral Scores and Parts sold separately.
$19.95
18.3 €
#
James Nathaniel Holland
#
The Snow Queen, A Ballet in 3 Acts, PIANO VOCAL SCORE
#
James Nathaniel Holland
#
SheetMusicPlus
Irish National Anthem (Unofficial) for String Orchestra
Orchestre à Cordes
String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Ke…
(+)
String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Keith Terrett. 20th Century, European, Patriotic. Score, Set of Parts. 10 pages. Published by Music for all Occasions
Londonderry Air arranged for String Orchestra.<br> <br> A big band version of the song is used as the theme for The Danny Thomas Show (a.k.a. Make Room For Daddy).<br> <br> "Danny Boy" was used to represent Northern Ireland at the start of the London 2012 Olympics opening ceremony, sung by a choir of children on the Giant’s Causeway.<br> <br> On November 25, 2014, the Vancouver Canucks used the song in honor of the recently deceased Pat Quinn, who played and worked in many executive capacities for the team.<br> <br> There are various theories as to the true meaning of "Danny Boy". Some listeners have interpreted the song to be a message from a parent to a son going off to war or leaving as part of the Irish diaspora.<br> <br> The 1918 version of the sheet music included alternative lyrics ("Eily Dear"), with the instructions that "when sung by a man, the words in italic should be used; the song then becomes "Eily Dear", so that "Danny Boy" is only to be sung by a lady". In spite of this, it is unclear whether this was Weatherly’s intent.<br> <br> Why the name Londonderry Air? Londonderry and Derry refer to the same place, a city in the north of Ireland, and also to the surrounding county. Supposedly the city of Derry was founded by St. Colmcille, although archaeological evidence shows that people were living there thousands of years earlier. There is an excellent museum in the city, which is worth a visit if you want to find out more. The name of the city was actually "Doire", corrupted to "Derry" by people who can’t pronounce Irish. It thought to derive from an Irish root meaning "oak tree".<br> <br> Moving quickly along in history, about a millenium later the government of England was having a difficult time colonizing Ireland because of the fierce and warlike clans living there, especially in the north of the country, Ulster. The monarchs of England, almost all of whom were notorious cheapskates, were continually looking about for ingenious ways to conquer places without actually having to put up the money themselves, or run the risk of unpopularity if they lost. In the case of Ireland, some of these schemes of the "Brish gummit" (as it is termed nowadays in Ulster) are still producing unfortunate long-term consequences.<br> <br> In 1608, King James I gave the city of Derry to the City of London corporation. I guess the deal could be summed up by saying that if the City of London could figure out a way to chase all the inhabitants out of Derry, they would be allowed to keep the loot, minus a percentage for the King of course. If they lost, well too bad. In celebration of this historic agreement, the name of Derry was officially changed to Londonderry. (For further information, check out the Northern Ireland Tourist Board’s History of Derry.)<br> <br> The linguistic outcome of all this today is that, if you think that King James’s deal with the City of London was a good idea, you call both the city and county "Londonderry". If you do, you are probably a supporter of the Unionist movement that seeks to keep Ulster a part of the United Kingdom. If you think it was a bad idea, you call both "Derry", and you are probably a supporter of the Irish Nationalist cause. Or you might just be someone who thinks it’s confusing for kings to be going around changing the names of places all the time for no good reason.<br> <br> You can find plenty of discussion about the political side of the question elsewhere, but here let’s look at the musical side. We have an air, collected in county Derry/Londonderry, and it doesn’t have a title. What do we call it?<br> <br> If you were a proper Victorian, there’s no way you were going to call it the Londonderry Air, much less the Derry Air, because of the improper sentiments that these titles might suggest. My parents tell me that in their youth in Australia, it was usually called the Air from County Derry. (This would, I suppose, support Winston Churchill’s theory that Australia was inhabited by "convicts and Irishmen".)<br> <br> My mother also sends the following information, referring to an arrangement of the tune by the Australian composer Percy Grainger:<br> <br> Just another note about Danny Boy, that I grew up in Australia believing to be the Air from County Derry. We were looking through some LP’s last night (back to vinyl yet!) and found a Mercury Wing Classical Favorites stereo LP SRW18060, COUNTRY GARDENS and other favorites by Percy Grainger {played by} Eastman-Rochester Pops, Frederick Fennell, conducting. The cover notes included the following: "Irish Tune from County Derry was harmonised in memory of Irish childhood friends in Australia." Considered by many to be Grainger’s masterpiece of harmonization, the tune was collected many years ago by Miss Jane Ross of New Town, Limavady, Ireland. Grainger has set it for many instrumental combinations. So there’s another variant on the name for it. It doesn’t say who wrote the notes, but the bits in quotes for each of the works on the record are Grainger’s original comments.<br> <br> The references to Londonderry Air that I’ve seen don’t go back any earlier than the late 1930s. For example, the Glenn Miller Orchestra recorded Danny Boy (Londonderry Air) in February 1940. Bing Crosby’s version was recorded in July 1941 (reference). (So many different things I could check up on!) Londonderry was an important American naval base during WWII, but the US hadn’t come into the war in 1940.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com<br> <br> Contact Publisher Related ScoresLondonderry Air arranged for String Orchestra.<br> <br> A big band version of the song is used as the theme for The Danny Thomas Show (a.k.a. Make Room For Daddy).<br> <br> "Danny Boy" was used to represent Northern Ireland at the start of the London 2012 Olympics opening ceremony, sung by a choir of children on the Giant’s Causeway.<br> <br> On November 25, 2014, the Vancouver Canucks used the song in honor of the recently deceased Pat Quinn, who played and worked in many executive capacities for the team.<br> <br> There are various theories as to the true meaning of "Danny Boy". Some listeners have interpreted the song to be a message from a parent to a son going off to war or leaving as part of the Irish diaspora.<br> <br> The 1918 version of the sheet music included alternative lyrics ("Eily Dear"), with the instructions that "when sung by a man, the words in italic should be used; the song then becomes "Eily Dear", so that "Danny Boy" is only to be sung by a lady". In spite of this, it is unclear whether this was Weatherly’s intent.<br> <br> Why the name Londonderry Air? Londonderry and Derry refer to the same place, a city in the north of Ireland, and also to the surrounding county. Supposedly the city of Derry was founded by St. Colmcille, although archaeological evidence shows that people were living there thousands of years earlier. There is an excellent museum in the city, which is worth a visit if you want to find out more. The name of the city was actually "Doire", corrupted to "Derry" by people who can’t pronounce Irish. It thought to derive from an Irish root meaning "oak tree".<br> <br> Moving quickly along in history, about a millenium later the government of England was having a difficult time colonizing Ireland because of the fierce and warlike clans living there, especially in the north of the country, Ulster. The monarchs of England, almost all of whom were notorious cheapskates, were continually looking about for ingenious ways to conquer places without actually having to put up the money themselves, or run the risk of unpopularity if they lost. In the case of Ireland, some of these schemes of the "Brish gummit" (as it is termed nowadays in Ulster) are still producing unfortunate long-term consequences.<br> <br> In 1608, King James I gave the city of Derry to the City of London corporation. I guess the deal could be summed up by saying that if the City of London could figure out a way to chase all the inhabitants out of Derry, they would be allowed to keep the loot, minus a percentage for the King of course. If they lost, well too bad. In celebration of this historic agreement, the name of Derry was officially changed to Londonderry. (For further information, check out the Northern Ireland Tourist Board’s History of Derry.)<br> <br> The linguistic outcome of all this today is that, if you think that King James’s deal with the City of London was a good idea, you call both the city and county "Londonderry". If you do, you are probably a supporter of the Unionist movement that seeks to keep Ulster a part of the United Kingdom. If you think it was a bad idea, you call both "Derry", and you are probably a supporter of the Irish Nationalist cause. Or you might just be someone who thinks it’s confusing for kings to be going around changing the names of places all the time for no good reason.<br> <br> You can find plenty of discussion about the political side of the question elsewhere, but here let’s look at the musical side. We have an air, collected in county Derry/Londonderry, and it doesn’t have a title. What do we call it?<br> <br> If you were a proper Victorian, there’s no way you were going to call it the Londonderry Air, much less the Derry Air, because of the improper sentiments that these titles might suggest. My parents tell me that in their youth in Australia, it was usually called the Air from County Derry. (This would, I suppose, support Winston Churchill’s theory that Australia was inhabited by "convicts and Irishmen".)<br> <br> My mother also sends the following information, referring to an arrangement of the tune by the Australian composer Percy Grainger:<br> <br> Just another note about Danny Boy, that I grew up in Australia believing to be the Air from County Derry. We were looking through some LP’s last night (back to vinyl yet!) and found a Mercury Wing Classical Favorites stereo LP SRW18060, COUNTRY GARDENS and other favorites by Percy Grainger {played by} Eastman-Rochester Pops, Frederick Fennell, conducting. The cover notes included the following: "Irish Tune from County Derry was harmonised in memory of Irish childhood friends in Australia." Considered by many to be Grainger’s masterpiece of harmonization, the tune was collected many years ago by Miss Jane Ross of New Town, Limavady, Ireland. Grainger has set it for many instrumental combinations. So there’s another variant on the name for it. It doesn’t say who wrote the notes, but the bits in quotes for each of the works on the record are Grainger’s original comments.<br> <br> The references to Londonderry Air that I’ve seen don’t go back any earlier than the late 1930s. For example, the Glenn Miller Orchestra recorded Danny Boy (Londonderry Air) in February 1940. Bing Crosby’s version was recorded in July 1941 (reference). (So many different things I could check up on!) Londonderry was an important American naval base during WWII, but the US hadn’t come into the war in 1940.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com<br> <br> Contact Publisher Related Scores
$8.99
8.25 €
#
Orchestre à Cordes
#
trad
#
Keith Terrett
#
Irish National Anthem
#
Music for all Occasions
#
SheetMusicPlus
Through the Power
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1095334 By Thea Wray.…
(+)
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1095334 By Thea Wray. By Althea Wray. Arranged by Althea Wray. Christian,Multicultural,Praise & Worship,World. Score. 4 pages. Water II Wine Publishing #699351. Published by Water II Wine Publishing (A0.1095334). We celebrate 200 years at Rye Lane Chapel with a hymn which remembers the fortitude and the forward thinking of the gathered Saints who were committed to their mission for leading souls to Christ and to prayer. Suitable for an ensemble or worship team.
$6.00
5.5 €
#
Piano, Voix et Guitare
#
Thea Wray
#
Althea Wray
#
Through the Power
#
Water II Wine Publishing
#
SheetMusicPlus
The Beatitudes, 24 Sacred Songs Celebrating The Beatitudes Through Music and Narration
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1076393 Composed by Kevin …
(+)
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1076393 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Praise & Worship,Sacred,Spiritual. Octavo. 194 pages. Kevin G. Pace #680550. Published by Kevin G. Pace (A0.1076393). Have you ever wondered how to have a really happy life? In Matthew 5-7 in The New Testament and in 3 Nephi 12-14 in The Book of Mormon, Another Testament of Jesus Christ, our Savior teaches us the way to contentment and happy living through The Beatitudes. These gems of Christian living were taught by Jesus as the initial part of the most well-known of his teachings called The Sermon on the Mount. The word “beatitude†comes from the Latin “beatitudo†meaning “blessedness.†Each of the eight beatitudes in this book consists of two phrases: the condition and the result. Together, these illustrate a set of ideals focusing on love and humility, echoing the highest of Jesus’ teachings on spirituality and compassion. Each also promises a future reward, and the themes appear to escalate from beginning to advancing levels of responsibility and spirituality as the Sermon progresses. By the end of the Sermon a recipient would have earned the reward to stand ceremonially in the presence of God, and to ultimately gain the greatest reward of living with Him in heaven. The purpose of this book is to praise our Lord through song and text, rejoicing in the gifts we receive from Him as we do as He suggests. Please enjoy this collection of original solos, SATB choral renditions, and a duet, along with a short text explaining each beatitude in the order our Savior spoke them so many years ago as part of the greatest sermon ever given, our Lord’s Sermon on the Mount! It was a joy to prepare them for you. Happy Living!
$10.95
10.04 €
#
Chorale SATB
#
the end of the Sermon a recipient would have earned the reward to stand ceremonially in the presence of God, and to ultimately gain the greatest reward of living with Him in heaven
#
Kevin G
#
The Beatitudes, 24 Sacred Songs Celebrating The Beatitudes Through Music and Narration
#
Kevin G. Pace
#
SheetMusicPlus
My Father's Love, a Father's Day Tribute
Choral Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.824259 Composed by Ke…
(+)
Choral Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.824259 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Praise & Worship,Sacred,Spiritual. Score. 8 pages. Kevin G. Pace #431091. Published by Kevin G. Pace (A0.824259). A beautiful vocal solo paying tribute to all fathers. Music by Kevin G. Pace. Text by Mary Ann W. Snowball. Text: My father’s love was manifest when in his arms I laid. His strength would ever hold me tight, a bond securely made. My father’s love was shown to me each day when I’d confide. My father’s love still radiates. To him I’m ever tied. We’ve been together through the years; he gave me wings to fly. He taught me how to live my life and gave me reasons why. He often said to be my best, keep promises I heard, to show great kindness when I spoke, and of our God to learn. My father’s love extends beyond to all posterity, to ev’ry single grandchild now, plus new births yet to be. He wants each one to feel his love and know he deeply cares. My father’s love still multiplies and is so very rare. My father’s love is manifest up to this very day. His strength still holds me carefully in his respectful way. His special love is shown to me each time I hear his voice. My father’s love still radiates; he’ll always be my choice.
$3.99
3.66 €
#
Kevin G
#
he gave me wings to fly
#
My Father's Love, a Father's Day Tribute
#
Kevin G. Pace
#
SheetMusicPlus
The Father Sent the Son
Chorale 3 parties
Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.915688 Composed by Richard …
(+)
Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.915688 Composed by Richard Joseph Barber. 20th Century,Christian,Christmas,Sacred. Octavo. 11 pages. Barber Music Company #3820397. Published by Barber Music Company (A0.915688). Voicing: SAB. Ranges: Sop., F4 to G5; Alt., A3 to D5; Bass, F2 to D4. Mood: Rejoicing, praise and thanksgiving over the Father's gift of His Son, who came to set us free from sin and death. Difficulty: Not difficult. Not hard to learn. Fun to sing. The piano part will take some practice and will require a comfortable octave reach. History: The Father Sent the Son is the title song of a cantata I composed ten or so years ago for a church choir that could barely muster a men's section. They loved to sing. They rehearsed every Sunday afternoon between services and sang every Sunday morning for worship and often in the evenings. They loved the entire cantata and sang it with enthusiasm. Since that time other choirs have song the cantata, and I have added and subtracted and rewritten through the years. I wanted to get the entire cantata as close to perfection as possible before I published it, but I have decided to publish the portions I am most happy with piecemeal for the time being. When all portions are where I thing they should be, I will publish the entire cantata as one work. Lord willing, of course. Please let me know if you enjoy the music I write. It is encouraging to hear from people who have enjoyed my work, or even from those who want to offer a criticism or suggestion. Dick Barber, aspiringtunerjb@sbcglobal.net
$2.20
2.02 €
#
Chorale 3 parties
#
Richard Joseph Barber
#
Alt., A3 to D5
#
The Father Sent the Son
#
Barber Music Company
#
SheetMusicPlus
Arise! Join the Dance of Life
Chorale SATB
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.1008093 Composed by Connie…
(+)
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.1008093 Composed by Connie Pwll Walck Tyler. Concert,Contemporary,New Age,Sacred,World. Octavo. 19 pages. Connie Tyler #4884389. Published by Connie Tyler (A0.1008093). This work for SATB, Marimba, French Horn and drums can be performed substituting a piano for the Marimba, or using an electronic keyboard, if the instrumentation is hard to come by. In the attached .mp3 it is sung by Matthew Curtis to an electronic recording of the instruments. Contact connie@deephum.com to obtain an electronic recording of the instrumentals. The song is one of many found in the novel, The Earth Woman Tree Woman Quartet, also written by Connie Pwll Walck Tyler. It is a call for people to see themselves as part of the whole earth, to join the Dance of Life, the central metaphor of the novel. It opens with a haunting call by the French Horn, and then the tenors, before the drums, marimba, and the other voices join. There is a soprano descant at measure 71 that can be sung as a solo. Peace, peace, laughter and dance, joy and life for us all. Sing your tears, sing your fears.... The piece is about four minutes long. The words are:Arise! Arise!Open up your heart.Open up your heart to the Dance of Life!Arise! Arise!Open up your eyes. Open up your eyes,Arise! Arise!See the world in the Dance of Life.Beat your feet to the beat of your heart.Dance the Dance of Life.Peace, peace, laughter and dance,Joy and life for us all.Sing your fears, sing your tears,Sing oppression through the years,Peace and justice for us all.Peace, peace, laughter and dance,Joy and life for us all.Joy and life for us all.Wake up and open up your heart to life.Wake up and see the world with compassionate eyes.Sing out and open up your heart.Sing out and open up your lives! Join the Dance of Life!Dance the Dance of Life!Arise! Arise!Open up your heart to the Dance of Life!Dance the Dance of Life! See my website at www.deephum.com and my facebook pages at Connie Pwll Walck Tyler, Deep Hum Productions, and The Earth Woman Tree Woman Quartet. For more information contact me at connie@deephum.com.
$8.00
7.34 €
#
Chorale SATB
#
Connie Pwll Walck Tyler
#
Arise! Join the Dance of Life
#
Connie Tyler
#
SheetMusicPlus
Through The Years
Small Ensemble Alto Saxophone,B-Flat Clarinet,B-Flat Trumpet,Flute,Horn,Trombone - Level 3…
(+)
Small Ensemble Alto Saxophone,B-Flat Clarinet,B-Flat Trumpet,Flute,Horn,Trombone - Level 3 - Digital Download SKU: A0.1047346 By Blaze Scheuerman. By Blaze Scheuerman. 20th Century,Classical,Contemporary,Jazz,Romantic Period. Score and parts. 43 pages. Blaze Scheuerman #651904. Published by Blaze Scheuerman (A0.1047346). Through The Years is meant to be a reflection back onto one’s childhood. Inspired by my own upbringing, it is a recollection of past events that came and mindsets experienced. It opens up with a loud and active sound to show the start of the journey. The character begins happy and energetic, going head first with no fear. The dotted quarter note theme at measure 11 then shows the young child’s state of mind. While beginning to understand concepts of anxiety and fear, he is still full of vigor and confidence. Then at measure 26, the main character begins his adolescence. Still fresh and happy, he sees the world in a simple way and that it is actively watching out for him. He is enjoying this passive time of leisure until measure 40, where he decides to actively try to seek out something. He gets carried away however, and tries to return back to his roots, seen in measure 59. Unfortunately he finds himself tainted and unable to return to his go-getting former self. He then does something peculiar in measure 77. Instead of being angered or saddened by this fact, he accepts it and takes a step back to rebuild himself, seen in the fugato section. After a long and detailed remapping, he finds himself back at his desired happy self. However at measure 127, he feels himself changing once again. So through active awareness and will, he prevents himself from changing into something he doesn’t want to be and instead stays as his desired self.
$5.99
5.49 €
#
Blaze Scheuerman
#
Through The Years
#
Blaze Scheuerman
#
SheetMusicPlus
6 Simple Songs To Sing & Play On The Guitar including House Of The Rising Sun, Sloop John B
Guitar,Instrumental Duet,Voice - Level 2 - Digital Download SKU: A0.1281240 Compose…
(+)
Guitar,Instrumental Duet,Voice - Level 2 - Digital Download SKU: A0.1281240 Composed by Traditional. Arranged by Simon James. Classical,Contemporary,Folk,Historic,Traditional. 36 pages. DML #872584. Published by DML (A0.1281240). Songs are about storytelling, sometimes the emotions of a moment, happy or sad, sometimes an entire life in three verses and a chorus. These songs I chose because I like them, some I learnt from my first real guitar teacher, Dylan Todd, at the Guitar Centre in Palma de Mallorca in the late sixties when my family lived there; some from my father who was my other first guitar teacher; some down the years from other musicians. I have kept the accompaniments as simple as possible to go with my book The Art Of Accompaniment On The Guitar, most guitarists could handle them. I have also annotated everything, knowing the history of a song is important and as we increasingly lose the oral tradition I was brought up with the reason I chose certain verses and not others becomes relevant to that understanding. This is a simpler publication than the printed one available from Amazon. All of these songs are out of copyright, those that are in copyright that I would include and have arranged can be found individually through Sheet Music Plus or Sheet Music Direct.
$11.99
11 €
#
Traditional
#
Simon James
#
6 Simple Songs To Sing & Play On The Guitar including House Of The Rising Sun, Sloop John B
#
DML
#
SheetMusicPlus
Kingdom Coming (The Year of Jubilo)
Ensemble de cuivres
Brass Ensemble - Level 4 - Digital Download SKU: A0.808688 Composed by Henry Clay W…
(+)
Brass Ensemble - Level 4 - Digital Download SKU: A0.808688 Composed by Henry Clay Work (1832-1884). Arranged by F. Leslie Smith. Children,Folk,Holiday,Patriotic. Score and parts. 31 pages. Sweetwater Brass Press #4111581. Published by Sweetwater Brass Press (A0.808688). Henry Clay Work, Civil War era song writer and abolitionist, composed Kingdom Coming in 1862. Chicago’s Root & Cady published it in April of that year, Christy’s Minstrels premiered it and it became enormously popular. The lyrics to Kingdom Coming, also known as The Year of Jubilo, were written as though slaves in the Confederacy were celebrating their upcoming freedom. However, the song was actually released eight months before President Lincoln issued the Emancipation Proclamation. Interestingly, Kingdom Coming also gained popularity in the South. A Southern edition was published in August in 1864, and the song remained a favorite in the former Confederacy for some years. Kingdom Coming has been used as theme or background music in a number of film, television and radio settings. Almost certainly its most popular iteration in modern times was the Sauter-Finegan Orchestra’s 1952 recording under the title Doodletown Fifers. This arrangement is a show-off piece for each member of the quintet. It moves along at a brisk pace of about 108, begins in the key of C and changes to A-flat, then B-flat. The first time through the melody, all instruments perform ensemble. Each succeeding repetition features an instrumentalist, starting with tuba and working up to Trumpet 1. The piece ends with another ensemble version. There are no exceptionally out-of-normal-playing-range notes: Trumpets 1 and 2 both play their B-flat below the scale several times, and Trumpet 2 plays G below the scale; Horn in F also plays its G below the scale; Trombone’s range is G at the bottom of the scale to D above the scale; Tuba’s lowest note is A-flat below the scale. Trumpet 1 will probably triple tongue its repetition of the melody, and some triple tonguing may be called for near the end of the piece for Trumpets 1 and 2 and Trombone. This arrangement was completed in 2018, and performance time runs just under 4 minutes. The arranger, Les Smith, would be very interested in your comments; contact him at lessmith@ufl.edu. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the SheetMusicPlus search box.
$9.97
9.14 €
#
Ensemble de cuivres
#
Henry Clay Work
#
F
#
#
Kingdom Coming
#
Sweetwater Brass Press
#
SheetMusicPlus
Journey to the Ancient World
Ensemble de cuivres
Brass Ensemble - Digital Download SKU: A0.1006832 Composed by Eddie Hurt. 20th Cent…
(+)
Brass Ensemble - Digital Download SKU: A0.1006832 Composed by Eddie Hurt. 20th Century,Contemporary. Score and parts. 96 pages. Eddie Hurt #3006787. Published by Eddie Hurt (A0.1006832). This composition was inspired by a cruise of the Mediterranean and visits to Italy, Croatia, and Greece. I was struck by the age and endurance of the structures and the history of the region. The hard work and thought that went into the construction of theses incredible buildings that have survived 1000s of years was amazing. I describe my musical style as neo polyphonic. I write each part as a spate melody or counter melody and the harmonization is what occurs naturally as they entwine. They are usually impressionistic in nature reflecting some action or scene. The First movement is my impression of walking on the ancient roman roads. I found them uneven and I I was wobbling all over the place. To me it sounds like a old wagon with different sized wheels going down the road with other traffic. The second movement. Is inspired by the great Cathedrals you find all through Europe. They are huge open and full of history. As you wonder through them you can feel the history and the devotion in them. The third movement evokes the fast ride of a cavalry unit scouting enemy territory and having a skirmish with and enemy then riding off.. It was inspired by all the history of conflict between the countries of the Mediterranean.
$4.99
4.58 €
#
Ensemble de cuivres
#
Eddie Hurt
#
Journey to the Ancient World
#
Eddie Hurt
#
SheetMusicPlus
America The Beautiful
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1254594 By Barbra Streisand. By Kat…
(+)
Piano Solo - Level 4 - Digital Download SKU: A0.1254594 By Barbra Streisand. By Katherine Lee Bates, Samuel A. Ward. Arranged by Timothy Stapay. Film/TV,Historic,Holiday,Patriotic,Singer/Songwriter. Score. 4 pages. Timothy Stapay #848195. Published by Timothy Stapay (A0.1254594). This is an arrangement of America The Beautiful, written for upper intermediate level piano. It contains an introduction using Battle Hymn Of The Republic.America the Beautiful is a patriotic American song. Its lyrics were written by Katharine Lee Bates and its music was composed by church organist and choirmaster Samuel A. Ward at Grace Episcopal Church in Newark, New Jersey. The two never met.In 1893, at the age of 33, Bates, an English professor at Wellesley College, had taken a train trip to Colorado Springs, Colorado, to teach at Colorado College. Several of the sights on her trip inspired her, and they found their way into her poem.Lyrics:O beautiful for spacious skiesFor amber waves of grainFor purple mountain majestiesAbove the fruited plain!America! America!God shed his grace on theeAnd crown thy good with brotherhoodFrom sea to shining sea!O beautiful for pilgrim feetWhose stern impassioned stressA thoroughfare of freedom beatAcross the wilderness!America! America!God mend thine every flawConfirm thy soul in self-controlThy liberty in law!O beautiful for heroes provedIn liberating strifeWho more than self their country lovedAnd mercy more than life!America! America!May God thy gold refineTill all success be noblenessAnd every gain divine! O beautiful for patriot dreamThat sees beyond the yearsThine alabaster cities gleamUndimmed by human tears!America! America!God shed his grace on theeAnd crown thy good with brotherhoodFrom sea to shining sea!O beautiful for halcyon skiesFor amber waves of grainFor purple mountain majestiesAbove the enameled plain!America! America!God shed his grace on theeTill souls wax fair as earth and airAnd music-hearted sea!O beautiful for pilgrims feetWhose stem impassioned stressA thoroughfare for freedom beatAcross the wilderness!America! America!God shed his grace on theeTill paths be wrought throughWilds of thoughtBy pilgrim foot and knee! O beautiful for glory-taleOf liberating strifeWhen once and twiceFor man's availMen lavished precious life!America! America!God shed his grace on theeTill selfish gain no longer stainThe banner of the free!O beautiful for patriot dreamThat sees beyond the yearsThine alabaster cities gleamUndimmed by human tears!America! America!God shed his grace on theeTill nobler men keep once againThy whiter jubilee!
$5.99
5.49 €
#
Piano seul
#
Barbra Streisand
#
Timothy Stapay
#
America The Beautiful
#
Timothy Stapay
#
SheetMusicPlus
Through The Years - piano solo
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1172087 Composed by Carrie Jacobs-B…
(+)
Piano Solo - Level 3 - Digital Download SKU: A0.1172087 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Pop,Romantic Period. Score. 2 pages. Phil Beaman #772351. Published by Phil Beaman (A0.1172087). Through The Years is a piano solo arrangement of the 1918 hit pop song by Carrie Jacobs-Bond, which was originally a ballad for voice and piano. Â Since the piano version no longer had words I added a variety of textures and harmonies to the simple melody. Â I begin softly with just single moving notes in each hand, then the next phrase add a harmony note, and I keep adding texture until both hands have full chords. Â Then a Time Signature change to a grazioso section which reharmonizes the melody several different ways. Â This is a piece of great emotional drama and beauty. Â 2 page score; 2:20 minutesThis piece is also found in my book, Carrie Jacobs-Bond, Popular Songs 1900-1925, a collection of 51 of her songs I have arranged for piano solo, which is also available on this site.
$2.50
2.29 €
#
Piano seul
#
Carrie Jacobs-Bond
#
Phil Beaman
#
Through The Years - piano solo
#
Phil Beaman
#
SheetMusicPlus
A Thousand Years
Cello,Electric Bass Guitar,Piano Accompaniment - Level 2 - Digital Download SKU: A0.146…
(+)
Cello,Electric Bass Guitar,Piano Accompaniment - Level 2 - Digital Download SKU: A0.1465981 By Christina Perri. By Christina Perri and David Hodges. Arranged by Kirstie Smith. 21st Century,Contemporary,Contest,Festival,Film/TV,Pop. 10 pages. Kirstie Smith #1044581. Published by Kirstie Smith (A0.1465981). Parts for piano, cello and bass from a wonderfully unique and emotive choir and ensemble arrangement of 'A Thousand Years' by Christina Perry for SATB divisi. This bespoke score, commissioned by the Wiltshire High Sheriff for the Massed Choir Finale of Uncelebrated Journey, was performed at Swindon's Wyvern Theatre, October 2018 - a wonderful collaboration of local performing arts groups, musicians, dancers and choirs, to celebrate local poet Alfred Williams, also known as 'The Railway Poet'. His story and works were brought to life through drama, dance and music, with an uplifting choral finale combining the voices and talents of Wessex Male Voice Choir, Janice Thompson Performance Trust Choir, Commonweal School Choir and vocal harmony group, 'Ten in a Bar'.Kirstie Smith has sensitively re-crafted this beautiful song to reflect the deep love shared between Alfred and his wife Mary, and their enduring love for each other is further painted through the second verse's country style duet. The mp3 audio sample is of 'Ten in a Bar' performing this arrangement live at a wedding reception, with the arranger providing piano accompaniment.Please refer to ArrangeMe ID 1044562 for the SATB vocal score.
$12.99
11.91 €
#
Christina Perri
#
Kirstie Smith
#
A Thousand Years
#
Kirstie Smith
#
SheetMusicPlus
The Arban Manual (Pre 2013)
Trompette
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Down…
(+)
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 75 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the older Carl Fischer Arban Method.<br> <br> Description<br> The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice.<br> Why<br> Arban’s Complete Conservatory Method for Trumpet andArban’s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.<br> <br> How<br> A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.<br> <br> Range Considerations<br> Students who are ready to play from Arban should have a “usable range” up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today’s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.<br> If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don’t rush your progress.<br> <br> Warming Up<br> One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.<br> <br> Performance Etudes<br> I’ve designated some of the more melodic and well balanced etudes as “performance etudes”. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.<br> <br> All of the characteristic studies and celebrated fantaisies are considered performance pieces.<br> <br> Models<br> Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban’suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.<br> <br> The Hard Stuff<br> At some point in your study of Arban you may come across something that you just can’t play, or play at tempo. This often involves triple or double tonguing. Don’t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world’s top players can’t play everything in the Arban book.<br> <br> Multiple Tonguing<br> Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends “tu ku”, many have had success using “tuh kuh”, “duh guh”, “tee kee” and many others. Finding your best syllables may take some experimentation.<br> <br> Extending Exercises<br> Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.<br> <br> Transposition<br> Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.<br> The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.<br> <br> Songs and duets<br> Some teachers love these and others don’t. I suggest you try them and if you’d like to supplement other pieces that you need to work on, please feel free to do so.<br> <br> For bass clef instruments<br> Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.<br> <br> The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the older Carl Fischer Arban Method.<br> <br> Description<br> The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice.<br> Why<br> Arban’s Complete Conservatory Method for Trumpet andArban’s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.<br> <br> How<br> A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.<br> <br> Range Considerations<br> Students who are ready to play from Arban should have a “usable range” up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today’s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.<br> If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don’t rush your progress.<br> <br> Warming Up<br> One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.<br> <br> Performance Etudes<br> I’ve designated some of the more melodic and well balanced etudes as “performance etudes”. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.<br> <br> All of the characteristic studies and celebrated fantaisies are considered performance pieces.<br> <br> Models<br> Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban’suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.<br> <br> The Hard Stuff<br> At some point in your study of Arban you may come across something that you just can’t play, or play at tempo. This often involves triple or double tonguing. Don’t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world’s top players can’t play everything in the Arban book.<br> <br> Multiple Tonguing<br> Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends “tu ku”, many have had success using “tuh kuh”, “duh guh”, “tee kee” and many others. Finding your best syllables may take some experimentation.<br> <br> Extending Exercises<br> Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.<br> <br> Transposition<br> Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.<br> The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.<br> <br> Songs and duets<br> Some teachers love these and others don’t. I suggest you try them and if you’d like to supplement other pieces that you need to work on, please feel free to do so.<br> <br> For bass clef instruments<br> Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.<br> <br> The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
$16.95
15.55 €
#
Trompette
#
Eric Bolvin
#
The Arban Manual
#
SheetMusicPlus
Mystery of the Hills
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1240133 Composed by Debbie…
(+)
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1240133 Composed by Debbie Allen. Children,Contemporary,Contest,Festival,Folk,Historic. Octavo. 14 pages. Nottingham Scores #835514. Published by Nottingham Scores (A0.1240133). Mystery of the Hills is an S.A.T.B. choral work describing the wonder of the Flint Hills, a region in East Central Kansas.  I’m not a native Kansan, but whenever I drive through this area, I am enthralled by the infinite sense of expanse and gently rolling terrain. Geologists believe there was an inland seaway that covered central North America starting 290 million years ago. Over time, alternating layers of hard limestone and softer shale rocks formed. It is believed erosion caused the varied elevations of terrain, unique to the slopes of the Flint Hills. These surface layers of limestone and chert prevented the settler’s ability to farm, which in turn preserved the integrity of the soil. Today, the prairie grasses can reach 10 feet tall if not managed.  The rich grasses are prime for feeding livestock. This music attempts to provide images of traveling through the Flint Hills today, while imagining changes over eons of time, due to weather and eventually, human interaction.  Generally, the upper voices provide the imagery and some history, while the lower voices describe a bedrock foundation.  Describing the rock foundation found in the Flint Hills is also a metaphor for human strife and struggle as man, among living flora and fauna, interact with the area. The vocal ranges and harmonies are accessible for young ensembles, whether in development or with years of experience.
$2.99
2.74 €
#
Chorale SATB
#
Debbie Allen
#
Mystery of the Hills
#
Nottingham Scores
#
SheetMusicPlus
Etudes with Style Music for the Tuba
Tuba
Tuba Solo - Level 3 - Digital Download SKU: A0.941530 Composed by Harry Salotti. 20…
(+)
Tuba Solo - Level 3 - Digital Download SKU: A0.941530 Composed by Harry Salotti. 20th Century,Classical,Instructional,Jazz,Rock. Individual part. 39 pages. Harry Salotti #6269281. Published by Harry Salotti (A0.941530). Etudes with Style Music for the Tuba, (download only) winner of the International Tuba Euphonium Association etude composition contest. This book contains 25 original tunes, each in a different style. They cover large categories such as Music Over the Ages, Dance Music Around the World, American Music and Movie Music. (look inside to see the table of contents). Performance MP3s of all 25 songs are available on iTunes, Amazon and other sites, performed by Tuba virtuoso Patrick Sheridan. Listen to 16 of the tracks here. Here are some comments about Etudes with Style Music for the Tuba. - I ran through your etude book. Man, they're really a lot of fun. Howard Johnson - It remains my intent to have all my new freshman students go through the book in it's entirety during their first year. Thanks again for a great contribution to the literature. John Stevens - Etudes with Style will surely be a great teaching tool for many years to come in the future. Don Little - Your etudes really look terrific. I'm really impressed with the quality of what I see. I look forward to spending some time with these and recommending them to everyone. Winston Morris
$12.99
11.91 €
#
Tuba
#
Harry Salotti
#
Etudes with Style Music for the Tuba
#
Harry Salotti
#
SheetMusicPlus
The Arban Manual - Hooten Edition
Trompette
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Downloa…
(+)
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 76 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the newer, Hooten edition published by Fischer. Why Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology. How A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can. Range Considerations Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129. If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress. Warming Up One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson. Performance Etudes I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance. All of the characteristic studies and celebrated fantaisies are considered performance pieces. Models Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons. The Hard Stuff At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book. Multiple Tonguing Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation. Extending Exercises Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models. Transposition Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice. The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part. Songs and duets Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so. For bass clef instruments Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments. The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone. About SMP PressThe Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the newer, Hooten edition published by Fischer.
Why
Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.
How
A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.
Range Considerations
Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.
If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress.
Warming Up
One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.
Performance Etudes
I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.
All of the characteristic studies and celebrated fantaisies are considered performance pieces.
Models
Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.
The Hard Stuff
At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book.
Multiple Tonguing
Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation.
Extending Exercises
Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.
Transposition
Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.
The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.
Songs and duets
Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so.
For bass clef instruments
Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.
The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
About SMP Press
$16.95
15.55 €
#
Trompette
#
Eric Bolvin
#
The Arban Manual - Hooten Edition
#
SheetMusicPlus
A Thousand Years
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.1262579 By Christina Perri. By Chri…
(+)
Piano Solo - Level 2 - Digital Download SKU: A0.1262579 By Christina Perri. By Christina Perri and David Hodges. Arranged by Mav Duo. Film/TV,Pop. Score. 5 pages. Musicial #855592. Published by Musicial (A0.1262579). Unleash the Emotion: A Captivating Solo Piano Arrangement of A Thousand Years by Christina PerriAre you yearning for a soul-stirring musical experience that will transport you through time and touch the deepest recesses of your heart? Look no further, for we have a breathtaking solo piano arrangement of A Thousand Years by Christina Perri that will leave you utterly captivated.Immerse yourself in the timeless beauty of this beloved ballad as the piano keys whisper delicate melodies and evoke a cascade of emotions within you. Every note, every chord, is meticulously crafted to recreate the tender magic of A Thousand Years in a stunning instrumental rendition. Prepare to be swept away by the power and elegance of the piano as it weaves its own enchanting tale.Crafted by a skilled musician and arranged with utmost precision, this solo piano rendition of A Thousand Years captures the essence of the original song, elevating it to new heights of musical brilliance. The pure simplicity of the piano, with its ability to convey profound emotions, allows the heartrending beauty of the melody to take center stage, shining through with an unparalleled clarity.Whether you're a piano virtuoso seeking a challenging masterpiece to showcase your skills, an intermediate player yearning for a captivating piece to inspire your practice sessions, or a passionate music lover desiring a mesmerizing addition to your collection, this solo piano arrangement is an absolute must-have. It offers an opportunity to embrace the raw emotion of A Thousand Years and express your own interpretation through the power of your fingertips.As you navigate the gentle rise and fall of the melody, you'll feel an undeniable connection to the lyrics and the heartfelt emotions they encapsulate. Each delicate stroke of the piano keys reveals the bittersweet longing, the eternal love, and the unyielding hope found within this modern-day classic. Let the music guide you on an introspective journey, conjuring memories and dreams as it resonates deep within your soul.This exquisite solo piano arrangement of A Thousand Years is not just a musical composition; it is a conduit for emotions, a vessel that carries you to a world of tenderness and vulnerability. With each passing measure, you'll find yourself enveloped in a tapestry of longing, passion, and the eternal promise of love.Don't miss the chance to own a piece of musical brilliance. Order your solo piano arrangement of A Thousand Years today and immerse yourself in the unparalleled beauty and emotional resonance of this unforgettable composition. Let the piano keys become an extension of your heart, allowing you to relive and rediscover the timeless magic of Christina Perri's masterpiece.Keywords: solo piano arrangement, A Thousand Years, Christina Perri, soul-stirring, musical experience, touch the heart, timeless beauty, captivating rendition, tender magic, instrumental brilliance, piano virtuoso, inspiring practice sessions, mesmerizing addition, raw emotion, bittersweet longing, eternal love, unyielding hope, modern-day classic, introspective journey, vessel of emotions, musical brilliance, emotional resonance.
$6.40
5.87 €
#
Piano seul
#
Christina Perri
#
Mav Duo
#
A Thousand Years
#
Musicial
#
SheetMusicPlus
<
1
26
51
....
1501
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
