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10 partitions trouvées
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1
A Dream Is A Wish Your Heart Makes
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Film Walt Disney
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Linda Ronstadt
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Timothy Stapay
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A Dream Is A Wish Your Heart M
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Timothy Stapay
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1190986 By Linda Ronstadt. By Al Hoffman, Jerry Livingston, and Mack David. Arranged by Timothy Stapay. Broadway,Children...
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Piano Solo - Level 4 - SKU: A0.1190986 By Linda Ronstadt. By Al Hoffman, Jerry Livingston, and Mack David. Arranged by Timothy Stapay. Broadway,Children,Film/TV,Musical/Show,Pop,Standards. Score. 4 pages. Timothy Stapay #790514. Published by Timothy Stapay (A0.1190986). This is an arrangement of A Dream Is A Wish Your Heart Makes from the Walt Disney movie Cinderella. It is written in a happy rhythmic style. This style of piano performance is often used by piano players at Disney World, to entertain the guests.Now you can learn to play this beloved classic song, in the same style as the famous Disney pianists.A Dream Is A Wish Your Heart Makes is a song written and composed by Mack David, Al Hoffman and Jerry Livingston for the Walt Disney film Cinderella (1950). In the song, Cinderella (voiced by Ilene Woods) encourages her animal friends to never stop dreaming, and that theme continues throughout the entire story. The song was inspired off of Franz Liszt’s Transcendental Etude No. 9 (Ricordanza).See the lyrics below:A dream is a wish your heart makesWhen you're fast asleepIn dreams you will loose your heartacheWhatever you wish for, you keepHave faith in your dreams and somedayYour rainbow will come smiling throughNo matter how your heart is grievingIf you keep on believingThe dream that you wish will come trueOh, that clock!Oh, killjoyI hear you, come on, get up you sayTime to start another dayEven he orders me aroundWell, there's one thingThey can't order me to stop dreamingAnd perhaps somedayThe dreams that I wish will come trueNo matter how your heart is grievingIf you keep on believingThe dream that you wish will come true
$5.99
Think About These Things
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Nicholas White
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Think About These Things
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Nicholas White Music
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.1258638 Composed by Nicholas White. 21st Century,Christian,Religious,Traditional. Octavo. 12 pages. Nicholas Whi...
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Choral Choir (SATB) - Level 4 - SKU: A0.1258638 Composed by Nicholas White. 21st Century,Christian,Religious,Traditional. Octavo. 12 pages. Nicholas White Music #851896. Published by Nicholas White Music (A0.1258638). Commissioned in 2014 by the Shadyside Presbyterian Church Choir, Pittsburgh, PA, under the direction of Mark A. Anderson. This anthem is scored for choir and organ, and sets words from St. Paul's letter to the Philippians.Have no anxiety about anything, But in everything by prayer and supplication with thanksgiving Let your requests be made known to God. Finally, brethren, whatever is true, whatever is honorable, Whatever is just, whatever is pure, Whatever is lovely, whatever is gracious, If there is any excellence, if there is anything worthy of praise, Think about these things.
$2.00
For I Am the Bread of Life [Lead Sheet]
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Instruments en Do
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INTERMÉDIAIRE/AVANCÉ
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Cher & Gene Klosner
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Gene Klosner
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For I Am the Bread of Life [Le
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Cher & Gene Klosner
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SheetMusicPlus
C Instrument - Level 4 - SKU: A0.1315573 By Cher & Gene Klosner. By Gene Klosner. Arranged by Gene Klosner. Christian,Easter,Lent,Praise & Worship,Rock....
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C Instrument - Level 4 - SKU: A0.1315573 By Cher & Gene Klosner. By Gene Klosner. Arranged by Gene Klosner. Christian,Easter,Lent,Praise & Worship,Rock. Lead Sheet / Fake Book. 8 pages. Cher & Gene Klosner #904315. Published by Cher & Gene Klosner (A0.1315573). As featured on Cher & Gene Klosner's Whatever Is True (Whatever Is Lovely) NPM (National Association of Pastoral Ministers) Lunchtime Concert, which can be found at the attached YouTube link (about 26 minutes in).Use for any opening/closing or Communion, especially for:Lent 3A, 4B, 5AEaster 2ABC, 4C, 5AB, 6B, 7ACPentecost VigilTrinity ABody & Blood ABCOrdinary Time 15C, 17-21B, 21C, 31C, 32C, 33ASeptember 14: Exaltation of the Holy CrossNovember 2: All Souls’ DayThemes:Communion/Eucharist/Bread of Life/Raising Us Up/Eternal Life/Hunger & Thirst/Living Water/I am the Resurrection and the Life/The Way, the Truth, the Life/God's Voice/Calling/Word of God/Belief/Spirit and Life/Remain in GodScriptural Passages:Jn 4:14; Jn 5:24-29; Jn 6:29-63; Jn 7:37-38; Jn 11:25-26; Jn 14:6, 19-21; Jn 15:4.This PDF contains the following versions: - Lead Sheet (for lead tenor, guitar accompanist, piano chorders - similar to fake books) - Refrain Assembly (for director, worship aid makers)...with descriptions and tips for the director and musiciansAvailable separately in Lead Sheet and PGV formats and Full Octavo Package.Parts also available for clarinets (or similar instruments) and for tubular bells.Also available as Reprise version (slow/meditative).www.facebook.com/ltfmusicwww.LTFMusic.comhttps://www.youtube.com/LighttheFireMusicKlosner.
$3.99
For I Am the Bread of Life [Octavo - Complete Package]
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Cher & Gene Klosner
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Gene Klosner
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For I Am the Bread of Life [Oc
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Cher & Gene Klosner
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SheetMusicPlus
Choral Choir,Choral (SATB divisi) - Level 4 - SKU: A0.1315565 By Cher & Gene Klosner. By Gene Klosner. Arranged by Gene Klosner. Christian,Easter,Lent,P...
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Choral Choir,Choral (SATB divisi) - Level 4 - SKU: A0.1315565 By Cher & Gene Klosner. By Gene Klosner. Arranged by Gene Klosner. Christian,Easter,Lent,Praise & Worship,Rock. 35 pages. Cher & Gene Klosner #904307. Published by Cher & Gene Klosner (A0.1315565). As featured on Cher & Gene Klosner's Whatever Is True (Whatever Is Lovely) NPM (National Association of Pastoral Ministers) Lunchtime Concert, which can be found at the attached YouTube link (about 26 minutes in).Use for any opening/closing or Communion, especially for:Lent 3A, 4B, 5AEaster 2ABC, 4C, 5AB, 6B, 7ACPentecost VigilTrinity ABody & Blood ABCOrdinary Time 15C, 17-21B, 21C, 31C, 32C, 33ASeptember 14: Exaltation of the Holy CrossNovember 2: All Souls’ DayThemes:Communion/Eucharist/Bread of Life/Raising Us Up/Eternal Life/Hunger & Thirst/Living Water/I am the Resurrection and the Life/The Way, the Truth, the Life/God's Voice/Calling/Word of God/Belief/Spirit and Life/Remain in GodScriptural Passages:Jn 4:14; Jn 5:24-29; Jn 6:29-63; Jn 7:37-38; Jn 11:25-26; Jn 14:6, 19-21; Jn 15:4.This PDF contains the following versions: - Full Score (for director, piano accompanist) - P/G/V (for piano accompanist) - Lead Sheet (for lead tenor, guitar accompanist, piano chorders - similar to fake books) - Tenor Lead + SATB (for choir members) - Refrain Assembly (for director, worship aid makers)...with descriptions and tips for the director and musiciansAvailable separately in Lead Sheet and PGV formats.Parts also available for clarinets (or similar instruments) and for tubular bells.Also available as Reprise version (slow/meditative).www.facebook.com/ltfmusicwww.LTFMusic.comhttps://www.youtube.com/LighttheFireMusicKlosner.
$1.99
For I Am the Bread of Life [P/G/V - Complete Package]
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Piano, Voix et Guitare
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INTERMÉDIAIRE/AVANCÉ
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Cher & Gene Klosner
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Gene Klosner
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For I Am the Bread of Life [P/
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Cher & Gene Klosner
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1315576 By Cher & Gene Klosner. By Gene Klosner. Arranged by Gene Klosner. Christian,Easter,Lent,Praise & W...
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Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1315576 By Cher & Gene Klosner. By Gene Klosner. Arranged by Gene Klosner. Christian,Easter,Lent,Praise & Worship,Rock. Score. 12 pages. Cher & Gene Klosner #904318. Published by Cher & Gene Klosner (A0.1315576). As featured on Cher & Gene Klosner's Whatever Is True (Whatever Is Lovely) NPM (National Association of Pastoral Ministers) Lunchtime Concert, which can be found at the attached YouTube link (about 26 minutes in).Use for any opening/closing or Communion, especially for:Lent 3A, 4B, 5AEaster 2ABC, 4C, 5AB, 6B, 7ACPentecost VigilTrinity ABody & Blood ABCOrdinary Time 15C, 17-21B, 21C, 31C, 32C, 33ASeptember 14: Exaltation of the Holy CrossNovember 2: All Souls’ DayThemes:Communion/Eucharist/Bread of Life/Raising Us Up/Eternal Life/Hunger & Thirst/Living Water/I am the Resurrection and the Life/The Way, the Truth, the Life/God's Voice/Calling/Word of God/Belief/Spirit and Life/Remain in GodScriptural Passages:Jn 4:14; Jn 5:24-29; Jn 6:29-63; Jn 7:37-38; Jn 11:25-26; Jn 14:6, 19-21; Jn 15:4.This PDF contains the following versions: - P/G/V (for piano accompanist, vocalist) - Refrain Assembly (for director, worship aid makers)...with descriptions and tips for the director and musiciansAvailable separately in Lead Sheet and PGV formats and Full Octavo Package.Parts also available for clarinets (or similar instruments) and for tubular bells.Also available as Reprise version (slow/meditative).www.facebook.com/ltfmusicwww.LTFMusic.comhttps://www.youtube.com/LighttheFireMusicKlosner.
$4.99
IGNITE, Between the Octaves - A Piano Duo Suite (Movement 7 of 7)
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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IGNITE, Between the Octaves -
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074279. P...
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Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074279. Published by Jenni Roditi (A0.1497866). Piano Duo - 2 pianos/4 hands. Ignite, Between the Octaves began with the impetus of static ‘pulsation’ (its original title) on repeated octaves. The piece is a fizzing dash of nodal vortices, small, then larger, spinning and tumbling and all the way to the finish line. This piece brings the complete suite of 7 pieces to a dynamic close, with a sense of ignition to new beginnings. The music echoes the opening F octaves of Initiate (movement 1). Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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dislocation I mean a degree of
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Jenni Roditi
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RITUALISE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. P...
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Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. Published by Jenni Roditi (A0.1497861). Piano Duo 2 pianos/4 hands. Ritualise, Between the Octaves finally found its identity with the word ritualise. It began as announce, became pronounce, then declare and went as far a pontificate for a title. At that point I realised I was mocking my own music and needed to take it more seriously. Ritualise brought out a meaning to the music that I hadn’t wanted to admit to. It is quite folk-like, in a primal and entrancing kind of way. I can imagine a communal dance for some ceremonial purpose in this music with both public and private elements.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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ENCIRCLE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. P...
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Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. Published by Jenni Roditi (A0.1497857). Piano Duo 2 pianos/4 hands. Encircle, Between the Octaves, originally called rotate as its impetus was to generate a steadily rotating music. Encircle was later chosen as a more evocative word. The harmony surprised me as it suggested shifts and colourations that I would not have expected to conjure. Two upper rotating parts with melodic narrative are supported by bass and baritone lower parts. The final section adds a dance-like short form to end what could otherwise have run and run and run. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
His Memory
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Violon et Piano
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INTERMÉDIAIRE/AVANCÉ
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Robert Daniel
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His Memory
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RDMusicStudios
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SheetMusicPlus
Piano,Violin - Level 4 - SKU: A0.1261681 Composed by Robert Daniel. Broadway,Classical,Film/TV,Musical/Show. 25 pages. RDMusicStudios #854759. Published...
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Piano,Violin - Level 4 - SKU: A0.1261681 Composed by Robert Daniel. Broadway,Classical,Film/TV,Musical/Show. 25 pages. RDMusicStudios #854759. Published by RDMusicStudios (A0.1261681). On April 19, 2019, I started writing my first composition, His Memory, on my first album, Show Your Pride. The Show Your Pride album was influenced by my best friend, Nigel Shelby, who tragically passed away by suicide after experiencing bullying for being outed as gay. It has been a few years since his death turned a national spotlight on the issue of LGBTQIA+ mental health and bullying. He was 15 years old at the time of his passing. I feel like I've been stabbed in the heart when I found he was gone. It was the first time I had lost anybody that I was close to. I was in a lot of pain at the time. Losing my best friend is one of the most difficult and heartbreaking experiences I have had in my life. This album is telling a coming-out story about a bisexual musician going on a self-discovery journey to find his true authentic self. I first met Nigel in mid-2018 when I was nervous, struggling with depression, and coming out as bisexual, so I gathered enough strength and confidence to come out to him. He's very kind and supportive of me. He was brave enough to come out to me as well. He has been a really good friend and my spirit guide as long as I've known him. He was understanding, thoughtful, and had a maturity about him that I admired. I feel happy and honored to have known him and had the best friends with him. I truly believe he is watching over me every day. In this inspirational, heartbreaking piece, His Memory, I will share a coming-out story about two boys who came out to each other, spending their friendship together until one of them passes away. This piece is based on a true story of how I coped with grief, dealing with depression about my best friend's passing, and how I found happiness within myself after his memorial service. It drew inspiration from many compositions and soundtracks, including Where The Sky Has No Stars by Katahj Copley, Lose You Now by Lindsey Stirling (feat. Mako), You Will Be Found from Dear Evan Hansen by Benj Pasek & Justin Paul, April Sky by Lin Chin Cheng, and Avatar The Last Airbender by Jeremy Zuckerman. These compositions I mentioned express hope and spark memories of lost loved ones. This piece is in 3 Acts: Friendship, I Lost You. and His Memory Lives On. Each one was inspired by actual events. Act I: Friendship Act II: I Lost You Act III: His Memory Lives On While you are listening to this piece, I want you to think about someone you love who is no longer with you. If you're one of those people who lost someone special to you, I am so sorry for your loss. Just know that you are not alone. Don't try to run and hide from your grief. Whatever your grief experience, it's important to be patient with yourself and allow the process to naturally unfold. You will grieve for as long as you need to, but you are a strong person and will find your way through this. Life is so precious. Cherish every moment with your loved ones. Coming out is one of the most difficult things a person can do, but if you are having difficulty or are unsure about it, just know that there are people out there who do love you for who you are. Learn to embrace your authentic self. Don't let your sexual orientation define who you are. The right people will accept you and those are the only people who matter. Be yourself, be happy, and do what you feel. Don't care so much about what others think and enjoy your life! Keep following your heart and don't be afraid to stand out!
$24.00
When I Look In The Mirror...
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Aaron Fonzi
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a loser and a failure
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When I Look In The Mirror...
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Aaron Fonzi
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.998358 Composed by Aaron Fonzi. Contemporary,Holiday,Standards. Score and parts. 67 pages. Aaron Fonzi #3884831. Publis...
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Concert Band - Level 4 - SKU: A0.998358 Composed by Aaron Fonzi. Contemporary,Holiday,Standards. Score and parts. 67 pages. Aaron Fonzi #3884831. Published by Aaron Fonzi (A0.998358). A breathtaking new addition to wind band literature, Aaron Fonzi has composed a piece that will take your audience on an incredible, emotional journey. Inspired by his grandmother, Jacquie, Mr. Fonzi recalls:I remember vividly the conversations I had with Grandma Jacquie as a boy. She had a kind, gentle way of showing her steadfast resilience and passion for that which is good and just in the world. She didn't think it good and just that I always felt the need to make myself my worst enemy. One day, she asked me who I see in the mirror. I told her I saw an ugly boy who couldn't do anything right; a loser and a failure. She told me that she saw a handsome young man who can do anything and become whatever he puts his mind to, and that everyday I ought to look in the mirror and find that person.It took me almost 20 years to fully understand what she meant. But it's true: we can only bring the light out of others once we've truly brought it out within ourselves. So, this is for all of us who look in the mirror and see a monster or a failure. You are not a failure and your are not a monster. Let this piece remind you that you can do anything you put your mind to if you put faith in the person looking back at you.Give your ensemble and your audience an experience they will remember with this powerful work, When I Look In The Mirror....
$30.00
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Whatever Is True