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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
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VIOLONCELLE
XYLOPHONE
Always Better
Non classifié
27
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Piano seul
12
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8
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5
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1
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10
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3
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Chorale SATB
4
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2
Chorale 3 parties
2
Voix duo
1
Chorale TTBB
1
Chorale Unison
1
+ 1 instrumentations
Retracter
Vents
Clarinette
6
Flûte traversière
5
Quatuor de Saxophones: 4 saxophones
5
Saxophone (partie séparée)
2
Saxophone Tenor
2
Saxophone Alto
2
Hautbois, Piano (duo)
1
Flûte à bec Soprano
1
Ensemble de Clarinettes
1
Ensemble de Flûtes
1
Quintette de Flûte : 5 flûtes
1
Saxophone et Piano
1
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1
+ 8 instrumentations
Retracter
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Trompette
5
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
2
Trombone
2
Trombone et Piano
1
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
6
Harpe
4
Violon, Violoncelle (duo)
3
Trio à Cordes: violon, alto, violoncelle
2
Violon
2
Violoncelle
1
Violon et Piano
1
Violoncelle, Piano
1
+ 3 instrumentations
Retracter
Orchestre & Percussions
Jazz combo
6
Orchestre à Cordes
4
Orchestre d'harmonie
4
Batterie
1
Ensemble de Percussions
1
Orchestre de chambre
1
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
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FLUTE TRAVERSI…
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Vous avez sélectionné:
Always Better
Partitions à imprimer
155 partitions trouvées
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151
A Better Resurrection
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Voix Soprano, Piano
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INTERMÉDIAIRE
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Christian contemporain
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Musique Sacrée
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Christina Rossetti and Amanda
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Richard Joseph Barber
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A Better Resurrection
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Barber Music Company
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SheetMusicPlus
Soprano voice,Vocal Solo - Level 3 - SKU: A0.915698 Composed by Christina Rossetti and Amanda Hill. Arranged by Richard Joseph Barber. Christian,Contemp...
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Soprano voice,Vocal Solo - Level 3 - SKU: A0.915698 Composed by Christina Rossetti and Amanda Hill. Arranged by Richard Joseph Barber. Christian,Contemporary,Easter,Sacred,Standards. 6 pages. Barber Music Company #4405090. Published by Barber Music Company (A0.915698). This haunting poem by Christina G. Rossetti offers hope at the end of every verse and would be a contemplative close to your Easter Sunday service. Note from the ComposerMy daughter gave me a melody that she had composed for one of her favorite poems, A Better Resurrection, and asked me to arrange it for her. As always, contact me with any questions you might have at barberpianoserv@gmail.com. -Richard Joseph Barber.
$3.99
Better Together
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Orchestre à Cordes
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INTERMÉDIAIRE
#
Pop musique
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Jack Johnson
#
Sherry Lewis
#
Better Together
#
Sherry Lewis Publishing
#
SheetMusicPlus
String Orchestra - Level 3 - SKU: A0.521799 By Jack Johnson. By Jack Johnson. Arranged by Sherry Lewis. Pop. Score and Parts. 23 pages. Sherry Lewis Pub...
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String Orchestra - Level 3 - SKU: A0.521799 By Jack Johnson. By Jack Johnson. Arranged by Sherry Lewis. Pop. Score and Parts. 23 pages. Sherry Lewis Publishing #6478713. Published by Sherry Lewis Publishing (A0.521799). BETTER TOGETHER String Orchestra, Intermediate Level for 2 violins, viola, cello and string bass chords such as C, Em, etc. Score: yes Parts: 10 pages Time: 3'10 MY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts however I also offer individual versions for one, two and three parts that are more detailed for these ensembles. Please visit https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer. If you can’t find a title then contact me through www.baysbest.com/smp-arrangeme/ and I’ll give you the link back to Sheet Music Plus’s listing. VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument. PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music. LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work. EXCELLENT for corporate events, weddings, social gatherings and recitals. APPROPRIATE for students and schools. CHURCH REPERTOIRE I’m always adding more titles. Sherry Lewis is a professional arranger and musician residing in Northern California. Thank you for your purchase!
$12.99
Better Me ft. Prophet AJ bell
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Jehdi JXL
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Juuchstudio
#
Better Me ft. Prophet AJ bell
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Juuchstudio
#
SheetMusicPlus
12-String Guitar,Acoustic Guitar,Bass Voice,Drums - Level 3 - SKU: A0.1136455 By Jehdi JXL. By Jehdi JXL. Arranged by Juuchstudio. Broadway,Christian,Hi...
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12-String Guitar,Acoustic Guitar,Bass Voice,Drums - Level 3 - SKU: A0.1136455 By Jehdi JXL. By Jehdi JXL. Arranged by Juuchstudio. Broadway,Christian,Hip-Hop,Musical/Show,Praise & Worship,R & B,Religious. Full Performance. Duration 279. Juuchstudio #736454. Published by Juuchstudio (A0.1136455). Thinking of a better life, we know that there is hope waiting for us. But don't make some actions that will take them far from you. God will always make a way where there seems to be problems and issues. Stream Jehdi JXL on audiomack, SoundCloud, bandlab, YouTube @ Jehdi JXL.
$1.99
We Will Understand It Better By and By - Piano Hymn Arrangement
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Piano seul
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INTERMÉDIAIRE
#
and By, also known as Trials D
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Charles A Tindley
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James Michael Stevens
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We Will Understand It Better B
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James M Stevens Music ASCAP
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.573204 Composed by Charles A Tindley. Arranged by James Michael Stevens. Contemporary,Folk,Gospel,Holiday,Sacred. Score. ...
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Piano Solo - Level 3 - SKU: A0.573204 Composed by Charles A Tindley. Arranged by James Michael Stevens. Contemporary,Folk,Gospel,Holiday,Sacred. Score. 4 pages. James M Stevens Music ASCAP #5010505. Published by James M Stevens Music ASCAP (A0.573204). Written December 20, 2019, this is a piano arrangement of the gospel hymn, We Will Understand It Better By and By, also known as Trials Dark On Every Hand. It begins in C Major, moves through A Flat and A major before returning to C Major with various moods from reflective to country gospel. When I was a youth growing up in a small church in Alabama, this was always our favorite hymn to sing on Sunday nights. James Michael Stevens is a prolific composer residing in Nashville, TN and serves as the Music Department Chairman of Welch College.
$4.99
LATER (Is Better Than Never)
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Jazz combo
#
INTERMÉDIAIRE/AVANCÉ
#
Christopher Burnett
#
Christopher Burnett
#
LATER
#
Christopher Burnett
#
SheetMusicPlus
Jazz Combo - Level 4 - SKU: A0.1201514 By Christopher Burnett. By Christopher Burnett. Arranged by Christopher Burnett. Contemporary,Film/TV,Jazz. Score...
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Jazz Combo - Level 4 - SKU: A0.1201514 By Christopher Burnett. By Christopher Burnett. Arranged by Christopher Burnett. Contemporary,Film/TV,Jazz. Score and parts. 24 pages. Christopher Burnett #800135. Published by Christopher Burnett (A0.1201514). ORIGINAL MUSIC FOR JAZZ QUARTET This work is from series of 6 related pieces of new music that I have composed and arranged for a new Originals quartet that had its debut on Tuesday March 28 as the final concert of the 2023 season of the long running noontime spring jazz series at the Midwest Trust Center in the Kansas City metropolitan area. The music is written and arranged for a modern jazz quartet. I perform on alto saxophone with the multi-talented William Crain on piano, the master bassist Gerald Spaits, and the brilliant young drummer Morgan Rogers. The mockup audio demos posted are among the first set of compositions written for our group. I actually wrote and arranged all of this music with each of these quartet musicians’ artistry in mind and to record an album. However, I truly welcome other ensembles to perform and program these selections of music too.THIS MUSIC IS BASED UPON THE PHILOSOPHY OF ABUNDANCE (COVEY)Scarcity Mentality is the zero-sum paradigm of life. People with a Scarcity Mentality have a very difficult time sharing recognition and credit, power or profit – even with those who help in the production. They also have a very hard time being genuinely happy for the successes of other people – even, and sometimes especially, members of their own family or close friends and associates. Conversely, Abundance Mentality flows out of a deep inner sense of personal worth and security. It is the paradigm that there is plenty out there and enough to spare for everybody. It results in sharing of prestige, of recognition, of profits, of decision making. It opens possibilities, options, alternatives, and creativity.THE MUSICAL SELECTIONS (F-A-M-I-L-Y)All of these six pieces interact musically as one larger work or they can be performed independently from the collection with equally pleasing effects musically.1. “FINALLY†(Is Never Permanent…) Composed and Arranged By Christopher Burnett (BMI)2. “ALWAYS†(Is Never Giving Up…)Composed and Arranged By Christopher Burnett (BMI)3. “MAYBE†(It Is or Is Not…)Composed and Arranged By Christopher Burnett (BMI)4. “INFINITY†(Is The Reality…)Composed and Arranged By Christopher Burnett (BMI)5. “LATER†(Is Better Than Never…)Composed and Arranged By Christopher Burnett (BMI)6. “YESTERYEARS†(Bring Our Todays…)Composed and Arranged By Christopher Burnett (BMI)Thanks,Christopher Burnett (BMI)musician, composer, educatorhttps://BurnettPublishing.com.
$25.00
Better Together
#
Violon, Violoncelle (duo)
#
INTERMÉDIAIRE
#
Pop musique
#
Jack Johnson
#
Sherry Lewis
#
https://www
#
Better Together
#
Sherry Lewis Publishing
#
SheetMusicPlus
Cello,Instrumental Duet,Violin - Level 3 - SKU: A0.521064 By Jack Johnson. By Jack Johnson. Arranged by Sherry Lewis. Pop. 11 pages. Sherry Lewis Publis...
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Cello,Instrumental Duet,Violin - Level 3 - SKU: A0.521064 By Jack Johnson. By Jack Johnson. Arranged by Sherry Lewis. Pop. 11 pages. Sherry Lewis Publishing #3421507. Published by Sherry Lewis Publishing (A0.521064). BETTER TOGETHER String Duo, Intermediate Level for violin and celloScore: yesParts: 4 pages Time: 3'10MY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts however I also offer individual versions for one, two and three parts that are more detailed for these ensembles.Please visit https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer.If you can’t find a title then contact me through www.baysbest.com/smp-arrangeme/ and I’ll give you the link back to Sheet Music Plus’s listing.VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument.PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music.LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work.EXCELLENT for corporate events, weddings, social gatherings and recitals.APPROPRIATE for students and schools.CHURCH REPERTOIRE I’m always adding more titles. Sherry Lewis is a professional arranger and musician residing in Northern California. Thank you for your purchase!
$4.99
ALWAYS (Is Never Giving Up)
#
Jazz combo
#
INTERMÉDIAIRE/AVANCÉ
#
Christopher Burnett
#
Christopher Burnett
#
ALWAYS
#
Christopher Burnett
#
SheetMusicPlus
Jazz Combo - Level 4 - SKU: A0.1201492 By Christopher Burnett. By Christopher Burnett. Arranged by Christopher Burnett. Contemporary,Film/TV,Jazz. Score...
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Jazz Combo - Level 4 - SKU: A0.1201492 By Christopher Burnett. By Christopher Burnett. Arranged by Christopher Burnett. Contemporary,Film/TV,Jazz. Score and parts. 11 pages. Christopher Burnett #800111. Published by Christopher Burnett (A0.1201492). ORIGINAL MUSIC FOR JAZZ QUARTET This work is from series of 6 related pieces of new music that I have composed and arranged for a new Originals quartet that had its debut on Tuesday March 28 as the final concert of the 2023 season of the long running noontime spring jazz series at the Midwest Trust Center in the Kansas City metropolitan area. The music is written and arranged for a modern jazz quartet. I perform on alto saxophone with the multi-talented William Crain on piano, the master bassist Gerald Spaits, and the brilliant young drummer Morgan Rogers. The mockup audio demos posted are among the first set of compositions written for our group. I actually wrote and arranged all of this music with each of these quartet musicians’ artistry in mind and to record an album. However, I truly welcome other ensembles to perform and program these selections of music too.THIS MUSIC IS BASED UPON THE PHILOSOPHY OF ABUNDANCE (COVEY)Scarcity Mentality is the zero-sum paradigm of life. People with a Scarcity Mentality have a very difficult time sharing recognition and credit, power or profit – even with those who help in the production. They also have a very hard time being genuinely happy for the successes of other people – even, and sometimes especially, members of their own family or close friends and associates. Conversely, Abundance Mentality flows out of a deep inner sense of personal worth and security. It is the paradigm that there is plenty out there and enough to spare for everybody. It results in sharing of prestige, of recognition, of profits, of decision making. It opens possibilities, options, alternatives, and creativity.THE MUSICAL SELECTIONS (F-A-M-I-L-Y)All of these six pieces interact musically as one larger work or they can be performed independently from the collection with equally pleasing effects musically.1. “FINALLY†(Is Never Permanent…) Composed and Arranged By Christopher Burnett (BMI)2. “ALWAYS†(Is Never Giving Up…)Composed and Arranged By Christopher Burnett (BMI)3. “MAYBE†(It Is or Is Not…)Composed and Arranged By Christopher Burnett (BMI)4. “INFINITY†(Is The Reality…)Composed and Arranged By Christopher Burnett (BMI)5. “LATER†(Is Better Than Never…)Composed and Arranged By Christopher Burnett (BMI)6. “YESTERYEARS†(Bring Our Todays…)Composed and Arranged By Christopher Burnett (BMI)Thanks,Christopher Burnett (BMI)musician, composer, educatorhttps://BurnettPublishing.com.
$25.00
Better the poor whose walk is blameless
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Chorale 3 parties
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Shiu yu chuen
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Better the poor whose walk is
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Shiu yu chuen
#
SheetMusicPlus
Choral Choir (SAB) - SKU: A0.1021709 Composed by Shiu yu chuen. Christian,Holiday,Sacred. Octavo. 5 pages. Shiu yu chuen #6204255. Published by Shiu yu ...
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Choral Choir (SAB) - SKU: A0.1021709 Composed by Shiu yu chuen. Christian,Holiday,Sacred. Octavo. 5 pages. Shiu yu chuen #6204255. Published by Shiu yu chuen (A0.1021709). Blessed is the one who always trembles before God,
$2.00
Always Better (from The Bridges of Madison County)
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Piano, Voix
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Film/TV
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Jason Robert Brown
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Always Better
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Hal Leonard - Digital
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SheetMusicPlus
Piano/vocal - SKU: HX.294158 Composed by Jason Robert Brown. This edition: scorch. Film/TV. 7 pages. Hal Leonard - Digital #262250. Published by Hal Leo...
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Piano/vocal - SKU: HX.294158 Composed by Jason Robert Brown. This edition: scorch. Film/TV. 7 pages. Hal Leonard - Digital #262250. Published by Hal Leonard - Digital (HX.294158).
$4.99
Si Jag
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Contemporain
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Gaho
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Zulhilmy Zulkifli
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Si Jag
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ZZ Music Solutions
#
SheetMusicPlus
Large Ensemble Flute,Guitar,High Voice,Marimba,Piano,Ukulele,Vibraphone,Violin,Xylophone - Level 2 - SKU: A0.917915 By Gaho. By Sam Han and Sung Il Park...
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Large Ensemble Flute,Guitar,High Voice,Marimba,Piano,Ukulele,Vibraphone,Violin,Xylophone - Level 2 - SKU: A0.917915 By Gaho. By Sam Han and Sung Il Park. Arranged by Zulhilmy Zulkifli. Contemporary. Score and parts. 17 pages. ZZ Music Solutions #6080929. Published by ZZ Music Solutions (A0.917915). Si Jag (Korean: 시작) or also translated as Start Over or Start, is a song by South Korean singer Kang Dae-ho (Korean: 강대호), better known by his stage name, Gaho. This song was released as a single on the second part of the Itaewon Class soundtrack. This song is written by Sung Il Park, Dong Sung Seo, and Sam Han. This transcription is written in concert key based on the single version and includes vocal melody, lyrics in Korean & romanised version, and chord symbols. This song is in the key of E major and is about 3’20 long. The tempo of the music starts at 108 bpm, gradually going up, and end at 110 bpm. This score is suitable for an early-intermediate player as it involved many semiquaver/16th note offbeats, which can be quite challenging for some readers and players. This score includes : 1) lead sheet without lyrics (3 pages); 2) lead sheet with Korean lyrics (3 pages); 3) lead sheet with romanised lyrics (4 pages); 4) chord chart with rhythm slashes (3 pages). I have included a separate chord chart for rehearsing or performing with another accompaniment. As you know, music is always better, when played together. Have fun and good luck. Do visit me at www.zulhilmyzulkifli.com for any inquiries. Thank you for your purchase, and I hope you enjoy the music.
$4.99
Mojito
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Piano, Voix et Guitare
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FACILE
#
Contemporain
#
Jie Lun Jay Zhou and Jun Lang
#
Zulhilmy Zulkifli
#
pinyin, horn lines &
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Mojito
#
ZZ Music Solutions
#
SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 2 - SKU: A0.917916 Composed by Jie Lun Jay Zhou and Jun Lang Huang. Arranged by Zulhilmy Zulkifli. Contemporary. Score....
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Guitar,Piano,Vocal,Voice - Level 2 - SKU: A0.917916 Composed by Jie Lun Jay Zhou and Jun Lang Huang. Arranged by Zulhilmy Zulkifli. Contemporary. Score. 10 pages. ZZ Music Solutions #5998831. Published by ZZ Music Solutions (A0.917916). Mojito is a song by Taiwanese singer-songwriter, 周æ°ä¼¦ (Jay Chou) from his single released on Jun 12, 2020. Jay Chou wrote the song and the lyric was written by 黄俊郎 (Huang Hun Lang). This transcription is based on the single version and includes vocal melody, lyrics in Chinese & pinyin, horn lines & chord symbols. This song is in the key of A minor and is about 3’05 long. The tempo is at 116 bpm and suitable for an early-intermediate player. This score includes : 1)lead sheet (4 pages); 2)chord chart with rhythm slashes (3 pages). I have included a separate chord chart for if you are planning on rehearsing or performing with another accompaniment. As you know, music is always better, when played together. Have fun and good luck. Do visit me at www.zulhilmyzulkifli.com for any inquiries. Thank you for your purchase, and I hope you enjoy the music.
$5.99
MY LORD
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Piano Facile
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DÉBUTANT
#
Joe Procopio
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MY LORD
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JoeCopio Music LLC
#
SheetMusicPlus
Piano,Vocal,Voice - Level 1 - SKU: A0.876408 Composed by Joe Procopio. Christian,Pop. Score. With ... Is a song inside of me I sing for all eternity And...
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Piano,Vocal,Voice - Level 1 - SKU: A0.876408 Composed by Joe Procopio. Christian,Pop. Score. With ... Is a song inside of me I sing for all eternity And I can see The day that you love me Ahh - in a world where no one ever dies Or ever cries - MY LORD And you will always be The only one for me - MY LORD 2. MY LORD Is a sigh inside of me A word that. 2 pages. JoeCopio Music LLC #32647. Published by JoeCopio Music LLC (A0.876408). My Lord - My daughter Diane sings this praise to God when she was just a little girl. The track could be better but the lyrics more than make up for it. MY LORD 1. MY LORD ... Is a song inside of me I sing for all eternity And I can see The day that you love me Ahh - in a world where no one ever dies Or ever cries - MY LORD And you will always be The only one for me - MY LORD 2. MY LORD Is a sigh inside of me A word that speaks eternally And I can see My life with you and me Ahh - in a world where no one ever lies Or says goodbye - MY LORD And you will always be The only one for me - MY LORD Bridge: Sing song Sing away in me Tell me not to be afraid Help me find a way to say All I want in life each day is to live in you 3. MY LORD Is a lovely melody. I sing for all eternity And I can see The day that you love me Ahh - in a world where no one ever dies Or ever cries - MY LORD And you will always be The only one for me - MY LORD MY LORD ©1988 Joe Procopio ASC 7107 Drew Hill Lane Chapel Hill, NC 27514 joecopio@gmail.com.
$1.99
Lost Boy
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Ruth B
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Brian Streckfus
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Lost Boy
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Brian Streckfus
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SheetMusicPlus
Guitar - Level 2 - SKU: A0.1135655 By Ruth B. By Ruth Berhe. Arranged by Brian Streckfus. Instructional,Pop,Singer/Songwriter. Chords/Lyrics. 2 pages. B...
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Guitar - Level 2 - SKU: A0.1135655 By Ruth B. By Ruth Berhe. Arranged by Brian Streckfus. Instructional,Pop,Singer/Songwriter. Chords/Lyrics. 2 pages. Brian Streckfus #735713. Published by Brian Streckfus (A0.1135655). This is a shortened version of the song to fit nicely on two pages (I needed a shorter version for the circumstances I'm under). The melody and lyrics are like the original as far as I can tell, but I did make changes to the harmony. Usually these changes to the harmony are to enhance the word painting, or to have it be more idiomatic to guitar. A version like this is ideal for someone who wants to play a very fancy version of the song on solo guitar, though adding vocals in should still be fairly easy. I personally sing a lot better if I can play the melody first on guitar because then I know exactly what I'm doing. Versions like these can really be as simple or as complex as you want, if you want something simple, just play the chord diagrams and sing!1. Guitar Arrangement Lead Sheet Style2. Guitar Tab 3. Chord Charts 4. Less stereotypical chords 5. Fingerings and letter names added to aid in sight-reading 6. Voice leading considerations 7. Making the music idiomatic for guitarTips:1. Notes with the stem direction going down are background harmonies that should be played quietly. This hidden meaning tends to only happen with polyphonic instruments such as piano and guitar. You'll eventually notice this anyways because there is no lyric underneath the note.1. Slurs are notated to the make the music easier and better sounding for guitar not vocals, though of course it often mimicks slurs similiar to a vocalist.2. Fmaj7(#11) is not in the original and is a key change since it includes an F and not an F#.3. Sometimes it can look like the melody does not contain a key change, but then when you anaylze the letter names of the chords, you will find that there is indeed key changes in the chords. The Beatles is a good example of a band that does this often.4. E minor and G major chords technically only need 2 or 3 notes. This is one simple but effective strategy to have less cliche chords.5. The F(#5)(#11) chord in the second to last measure could probably be just an F major chord.6. The E natural in measure 42 could be an Eb if the harmony is too avant-garde for you. Made sense to me because of word painting and I wanted a keyless and dreamy feeling for the end. 7. G/B chords are arguably nicer than a full G chord, though of course the decision is ultimately up to. It is better because the chord is imperfect, it causes the audience to not clap too soon. I also only strum the chord up to where the vocal melody is happening, that way the main melody is always in the spot light, and I find songs are easier to sing this way.
$1.99
Mediterraneo - Score Only
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Alicia DomÃnguez Arcos Sona
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Alicia DomÃnguez Arcos
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Mediterraneo - Score Only
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Alicia Dominguez
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SheetMusicPlus
Level 2 - SKU: A0.1372693 By Alicia DomÃnguez Arcos Sonay. By Joan Manuel Serrat. Arranged by Alicia DomÃnguez Arcos. Film/TV,Multicultural,Pop,Pr...
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Level 2 - SKU: A0.1372693 By Alicia DomÃnguez Arcos Sonay. By Joan Manuel Serrat. Arranged by Alicia DomÃnguez Arcos. Film/TV,Multicultural,Pop,Praise & Worship,Singer/Songwriter,World. 30 pages. Alicia Dominguez #957004. Published by Alicia Dominguez (A0.1372693). In these 112 measures for the twinning of Istanbul-Algeciras I have wanted to incorporate concepts from both parties, with the respect that the composition of Don Joan Manuel Serrat deserves in which in 1970 he sang “Mare Nostrum†(Nostrum mare more correctly in Latin classic, being one of the popular anthems of Spain and therefore a cultural heritage. Therefore it can be used instrumentally or if required, there is a number in the score of which, although the guitar has a melody and one of the choral voices, with two guitars, or make two choral voices or join with your own melody, use both bowed string instruments and plucked strings, etc.Likewise, there are two voices, of which a single voice can use the phrasings of both one voice and the other, giving it its own personality.The tempo will be whatever the interpretation itself wants, much slower, without accelerating so much between the beginning and the moment of the song itself. I have incorporated some instruments into the arrangement as examples:Buzukibouzouki, like the sazturco and the Lebanese Buzuq, which belong to the same family of Buzuki instruments.And as percussion only percussion The Turkish Darbuka is a percussion musical instrument The Turkish Darbuka is a percussion musical instrument from Turkey. The Turkish Darbuka have a high range of low and high resonant tones that sound between the two registers; serious (Dum) and acute (Tek). The edge or lip allows for finger breaking techniques that are not possible in the Egyptian Darbuka.And the Tombak, also called Dombak Ozarb, is a chalice-shaped drum, traditionally built with a hollowed-out biker or walnut trunk covered with skin at one end.With the beginning and among the work itself I wanted to give place to the Bashraf (Turkish Pesrev and Persian Pishraw, which means Overture) and the Sama'i (Turkish Sam Semai) Instrumental genre that is used in the Turkish court and in Sufi music . They were introduced into the Arab world before the 19th century.And also give place in his forms to the Ottoman composer Ismail Hakkibei (1866-1927). Unite Serrat with Hakkibey with this Istanbul-Algeciras work.Although the Bashraf is always made up of four points, Khanat (Plural Dekhana) or Hanne in Turkish, which are always followed by a chorus (Taslim / Teslim), its structure being Khana 1+ Taslim, Khana 2, Khana 3+ Taslim, Khana 4 + Taslim.The fragments must be incorporated since the main base is the Mediterranean pop theme. For this reason, its original rhythm is the Defâhte (In Arabic, Faakhito Fahitah Turki. Being a 20/4 time signature subdivided into 5 sub-groups of 4/4 where the complete cycle coincides with the phrases of the theme. Without forgetting that in music Arabic with the oriental rhythm Lsaada Duyukde 8/8 making a cycle for each measure of 4/4, that is, cycles per phrase, if those written for Western reading in 4/4 with double durations and simplicity. Unit of time: quarter note , coincides in two phrases of 5 measures per staff for a better understanding of the form of the piece, also within a written Arabic version of the theme the unit of time is eighth note 8/8 in G, but it had to be incorporated into Mediterráneo and it is always It is more feasible to think of the human voice as being more limited than instrumentation such as flute, plucked leather instruments, and bowed string instruments.Instrumentation:FluteGuitar 1 (1st voice melody)Guitar 2 (2nd voice melody)Bass (accompaniment and chords)BuzukiSazDarbukaTombakVoice 1st2nd voiceSMATB Voices1st violin2nd violinViolaCellosDouble basses.
$9.00
The Story Of Reuben Clamzo & His Strange Daughter
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Chorale TTBB
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FACILE
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo &am
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Edition Craig Hanson
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SheetMusicPlus
Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edi...
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Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
Oh Shenandoah
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Piano Facile
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DÉBUTANT
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Traditional Folk
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Brian Streckfus
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Oh Shenandoah
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Brian Streckfus
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SheetMusicPlus
C Instrument - Level 1 - SKU: A0.1194379 By Traditional Folk. By Traditional Folk Anon. Arranged by Brian Streckfus. Folk,Instructional,Singer/Songwrite...
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C Instrument - Level 1 - SKU: A0.1194379 By Traditional Folk. By Traditional Folk Anon. Arranged by Brian Streckfus. Folk,Instructional,Singer/Songwriter,Standards. Lead Sheet / Fake Book. 2 pages. Brian Streckfus #793751. Published by Brian Streckfus (A0.1194379). Pages: 2Key: G Major1. Guitar Tab added with rhythms2. Guitar  Chord diagrams added. 3. Chord nomenclature added. 4. Chords re-harmonized to be idiomatic for guitar, more unique, take part writing into consideration. 5. Left hand guitar fingerings added. 6. Letter names added to note heads.7. Blues grace note added in measure 17. This measure is a good example of how to squeeze in a quick blues note.I like these versions because you can choose between playing the main melody, playing the chords, or trying both simultaneously. If you can eventually playing both simultanously, it can quickly become sophisticated sounding!This version is also nice in that if you strum the more detail-oriented guitar chords, you end up usually playing the melody anyways, which makes this more ideal for strumming with a pick and for practicing vocals.Tips:1. The F# diminshed chord in measure 18 was originally a D7 chord. This seems like a good substitute to make because they contain roughly the same notes but the diminished chord is more original sounding and has better part writing. There is something about D7 chord that I am always swapping out of them when the melody is low. Same concept for the D/F# chord in measure 11. Instead of a famous D chord, the D/F# accents the main melody better, and is more unique sounding.2. It's easy to make mistakes with ties, especially because they also look like slurs. Ties add the to rhythm values together and you don't play the second note, so I normally cross them out with a pencil as they are really only showing sustain.
$2.99
Chorus and Aria from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Chorus and Aria from Ariadne a
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
'A golden time ...' from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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'A golden time ...' from Ariad
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitare
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INTERMÉDIAIRE
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Classique
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music ...
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Solo Guitar - Level 3 - SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
Overture from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Overture from Ariadne auf Naxo
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
Hallelujah, Yeshua
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Contemporain
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the Spirit of God, and To the
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James Orcutt
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Hallelujah, Yeshua
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James Orcutt
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SheetMusicPlus
Small Ensemble Cello,Harp,Voice - SKU: A0.1012216 Composed by James Orcutt. Contemporary. Score and parts. 4 pages. James Orcutt #3919743. Published by ...
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Small Ensemble Cello,Harp,Voice - SKU: A0.1012216 Composed by James Orcutt. Contemporary. Score and parts. 4 pages. James Orcutt #3919743. Published by James Orcutt (A0.1012216). Item Number: S0.436499Hallelujah, Yeshua is a 1:45. This will be the initial song on a series of pieces praising Yeshua appearing on a dvd set or album. (Yeshua Adonai will be part of the dvd). This is a worshipful song of harp and cello. The cello fills in for the vocal part. A solo voice or the whole church family of Christian and Jewish brethren alike. The Christian roots in Judaism are always to be remembered and cherished and honored! The short, almost choppy style verses give way to the flowing melodic texture of the Chorus. May Jesus Christ be praised! As a seminary graduate, the utmost is put into each song for the best of Biblical theology I know to date. As the Lord keeps teaching and illuminating more about Himself, I'm certain the lyrics and songs will become even better than what they are presently. The Spirit of God enabled me to write all the compositions, and they are SPLENDID right now! All songs are From the Lord, By the Spirit of God, and To the praise of the Lord Jesus! Amen!!! :). OOOH...no piece of music is ever performed quite the same twice. If you wish, be creative and open the piece up...add other instruments as the Lord leads. Turn the mp3 off and expand the sheet music as the Spirit of God sees fit to take you. The sheet music is only the germ of the idea, right? Let the musicians go NUTS, if they wish...most musicians are better than halfway down that path already. LOL OR, simply stick w/what's on the mp3 and sheet music and let that be that. Jim Orcutt.
$1.99
Hallelujah Yeshua
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Musique Sacrée
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the Spirit of God, and To the
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James Orcutt
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Hallelujah Yeshua
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James Orcutt
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SheetMusicPlus
Baritone Horn TC,Cello,Harp,Tenor Voice - SKU: A0.1071788 Composed by James Orcutt. Christian,Jewish,Praise & Worship,Sacred. Accompaniment. Duration 11...
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Baritone Horn TC,Cello,Harp,Tenor Voice - SKU: A0.1071788 Composed by James Orcutt. Christian,Jewish,Praise & Worship,Sacred. Accompaniment. Duration 112. James Orcutt #4111663. Published by James Orcutt (A0.1071788). Hallelujah, Yeshua is a 1:45. This will be the initial song on a series of pieces praising Yeshua appearing on a dvd set or album. (Yeshua Adonai will be part of the dvd). This is a worshipful song of harp and cello. The cello fills in for the vocal part. A solo voice or the whole church family of Christian and Jewish brethren alike. The Christian roots in Judaism are always to be remembered and cherished and honored! The short, almost choppy style verses give way to the flowing melodic texture of the Chorus. May Jesus Christ be praised! As a seminary graduate, the utmost is put into each song for the best of Biblical theology I know to date. As the Lord keeps teaching and illuminating more about Himself, I'm certain the lyrics and songs will become even better than what they are presently. The Spirit of God enabled me to write all the compositions, and they are SPLENDID right now! All songs are From the Lord, By the Spirit of God, and To the praise of the Lord Jesus! Amen!!! :). OOOH...no piece of music is ever performed quite the same twice. If you wish, be creative and open the piece up...add other instruments as the Lord leads. Turn the mp3 off and expand the sheet music as the Spirit of God sees fit to take you. The sheet music is only the germ of the idea, right? Let the musicians go NUTS, if they wish...most musicians are better than halfway down that path already. LOL OR, simply stick w/what's on the mp3 and sheet music and let that be that. Jim Orcutt.
$1.99
Paul Wehage: To You for baritone, tenor saxophone and piano
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Paul Wehage
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Paul Wehage: To You for barito
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,St...
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Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3396161. Published by Musik Fabrik Music Publishing (A0.534375). To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.Whitman’s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poe’s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poet’s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..To YouWhoever you are, I fear you are walking the walks of dreams,I fear these supposed realities are to melt from under your feet and hands,Even now your features, joys, speech, house, trade, manners,troubles, follies, costume, crimes, dissipate away from you,Your true soul and body appear before me.They stand forth out of affairs, out of commerce, shops, work,farms, clothes, the house, buying, selling, eating, drinking,suffering, dying.Whoever you are, now I place my hand upon you, that you be my poem,I whisper with my lips close to your ear.I have loved many women and men, but I love none better than you.O I have been dilatory and dumb,I should have made my way straight to you long ago,I should have blabb'd nothing but you, I should have chanted nothingbut you.I will leave all and come and make the hymns of you,None has understood you, but I understand you,None has done justice to you, you have not done justice to yourself,None but has found you imperfect, I only find no imperfection in you,None but would subordinate you, I only am he who will never consentto subordinate you,I only am he who places over you no master, owner, better, God,beyond what waits intrinsically in yourself.Painters have painted their swarming groups and the centre-figure of all,From the head of the centre-figure spreading a nimbus of gold-color'd light,But I paint myriads of heads, but paint no head without its nimbusof gold-color'd light,From my hand from the brain of every man and woman it streams,effulgently flowing forever.O I could sing such grandeurs and glories about you!You have not known what you are, you have slumber'd upon yourselfall your life,Your eyelids have been the same as closed most of the time,What you have done returns already in mockeries,(Your thrift, knowledge, prayers, if they do not return inmockeries, what is their return?)The mockeries are not you,Underneath them and within them I see you lurk,I pursue you where none else has pursued you,Silence, the desk, the flippant expression, the night, theaccustom'd routine, if these conceal you from others or fromyourself, they do not conceal you from me,The shaved face, the unsteady eye, the impure complexion, if thesebalk others they do not balk me,The pert apparel, the deform'd attitude, drunkenness, greed,premature death, all these I part aside.There is no endowment in man or woman that is not tallied in you,There is no virtue,.
$29.95
God
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE
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Classique
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Bob Rowe
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God
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Bob Rowe
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SheetMusicPlus
Choral Alto Voice,Soprano Saxophone (SATB) - Level 3 - Interactive Download SKU: A0.1127139 By Bob Rowe. By Bob Rowe. This edition: Interactive Download....
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Choral Alto Voice,Soprano Saxophone (SATB) - Level 3 - Interactive Download SKU: A0.1127139 By Bob Rowe. By Bob Rowe. This edition: Interactive Download. Classical. Octavo. 12 pages. Duration 205. Bob Rowe #4zCpyXGf1RUqh1QxfYilbW. Published by Bob Rowe (A0.1127139). Key: C major.I originally wrote this piece back in April 2020 during quarantine. However, I decided to make some changes to make it even better and I'm proud of what I came up with. The text is by famous Harlem Renaissance poet, Langston Hughes. He is one of my favorite poets. I always dreamed I'd write a choral piece using his text and my dream has become a reality. Text I am God Without one friend Alone in my purity World without end Below me young lovers Tread the sweet ground But I am God I cannot come down Spring! Life is Love Love is life only Better to be human Than God and lonely.
$2.99
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