Page d'accueil
Parcourir Free-scores.com
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Another Door
Non classifié
6
Piano & claviers
Piano, Voix
4
Piano, Voix et Guitare
3
Piano seul
1
Orgue
1
Guitares
Basse electrique
1
Voix
Chorale SATB
3
Chorale TTBB
1
Chorale 2 parties
1
Vents
2 Flûtes traversières (duo)
1
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1
Quatuor de Cuivres
1
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
6
Violoncelle
2
Trio à Cordes: violon, alto, violoncelle
1
Orchestre & Percussions
Ensemble de cuivres
3
Orchestre d'harmonie
3
Orchestre
2
Cloches
1
Ensemble Jazz
1
Orchestre à Cordes
1
Ensemble de Percussions
1
+ 2 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
Autres Services
Autres Services
Top 100
Annuaire Web
Portées musicales
Metronome
A propos de free-scores.com
€
€
EUR €
USD $
GBP £
CAD $
CNY ¥
English
Partitions Gratuites
21
Partitions Numériques
46
Librairie Musicale
338
Matériel de Musique
7
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← INSTRUMENTATIONS
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Vous avez sélectionné:
Another Door
Partitions à imprimer
46 partitions trouvées
<
1
26
Walk Out The Door
#
Piano, Voix
#
INTERMÉDIAIRE/AVANCÉ
#
Andrew Mc Donald
#
Walk Out The Door
#
Andrew Mc Donald
#
SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.841935 Composed by Andrew Mc Donald. Christian,Gospel,Pop. Score. 9 pages. Andrew Mc Donald (Macka Records) #34795...
(+)
Piano,Vocal,Voice - Level 4 - SKU: A0.841935 Composed by Andrew Mc Donald. Christian,Gospel,Pop. Score. 9 pages. Andrew Mc Donald (Macka Records) #3479599. Published by Andrew Mc Donald (Macka Records) (A0.841935). Walk Out The Door is a song about the things we say that offend and hurt one another. Before we slam the door behind why do we have to go there with our bad tempers and say things we regret later on. Could we not have kept our self control and say kind words instead?
$4.99
Somebody's Knocking at Your Door
#
Cloches
#
INTERMÉDIAIRE
#
Noël
#
Linda R
#
Somebody's Knocking at Your Do
#
Chorister's Guild - Digital
#
SheetMusicPlus
3, 4, or 5 octaves handbells - Level 3 - SKU: C7.CGB232 Composed by Linda R. Lamb. Christmas. With Claves, Wood Block. Score. 8 pages. Chorister's Guild...
(+)
3, 4, or 5 octaves handbells - Level 3 - SKU: C7.CGB232 Composed by Linda R. Lamb. Christmas. With Claves, Wood Block. Score. 8 pages. Chorister's Guild - Digital #CGB232. Published by Chorister's Guild - Digital (C7.CGB232). UPC: 749193006511.This setting of the beloved spiritual creatively weaves together with another endearing spiritual, Sweet Little Jesus Boy, played by handchimes. Together, the two melodies enhance one another in a beautiful and memorable setting. Appropriate for any occasion during the Christmas season.
$4.50
Fling Wide the Door
#
Orgue
#
INTERMÉDIAIRE
#
Musique Sacrée
#
J
#
David Christensen
#
Fling Wide the Door
#
David Christensen
#
SheetMusicPlus
Organ - Level 3 - SKU: A0.1239749 Composed by J. A. Freylinghausen. Arranged by David Christensen. Advent,Sacred. Score. 5 pages. David Christensen #835...
(+)
Organ - Level 3 - SKU: A0.1239749 Composed by J. A. Freylinghausen. Arranged by David Christensen. Advent,Sacred. Score. 5 pages. David Christensen #835140. Published by David Christensen (A0.1239749). This is an arrangement for organ solo of an Advent hymn tune found in a German songbook of 1704.  Part of the arrangement will require a solo Trumpet stop or another strong reed stop.  It varies in dynamics from mp to ff.
$5.99
Another Day In Paradise
#
Quatuor à cordes: 2 violons, alto, violoncelle
#
FACILE
#
Phil Collins
#
Thomas Strauch
#
Another Day In Paradise
#
Purple Pedagogy Publishing
#
SheetMusicPlus
String Quartet String Quartet - Level 2 - SKU: A0.815452 By Phil Collins. By Phil Collins. Arranged by Thomas Strauch. Contemporary,Film/TV,Pop,Rock,Wed...
(+)
String Quartet String Quartet - Level 2 - SKU: A0.815452 By Phil Collins. By Phil Collins. Arranged by Thomas Strauch. Contemporary,Film/TV,Pop,Rock,Wedding. Score and parts. 20 pages. Purple Pedagogy Publishing #3511057. Published by Purple Pedagogy Publishing (A0.815452). Nice easy arrangement for string quartet. The 1st violin part is high enough to be heard, even outdoors. It follows the original melody closely, but in a key easier for string players.
$14.99
The Journey (Indoor Drumline Show)
#
Ensemble de Percussions
#
FACILE
#
Contemporain
#
David Moraga Jr
#
The Journey
#
David Moraga Jr.
#
SheetMusicPlus
Percussion Ensemble - Level 2 - SKU: A0.958089 Arranged by David Moraga Jr. Contemporary. Score and parts. 51 pages. David Moraga Jr. #3396847. Publishe...
(+)
Percussion Ensemble - Level 2 - SKU: A0.958089 Arranged by David Moraga Jr. Contemporary. Score and parts. 51 pages. David Moraga Jr. #3396847. Published by David Moraga Jr. (A0.958089). There is another score that I have on here called Someone Watching Over Me and they are the same music but this is is a lot easier that that one because I don't want to discourage anyone for buying my music ( Middle School A Class ).
$29.99
When a door closes another door opens
#
D
#
D
#
When a door closes another doo
#
D.Kota
#
SheetMusicPlus
Small Ensemble Tenor Saxophone,Trumpet,Tuba - Level 4 - SKU: A0.1028674 Composed by D.Kota. Arranged by D.Kota. Film/TV,Gospel,Sacred. Score and parts. ...
(+)
Small Ensemble Tenor Saxophone,Trumpet,Tuba - Level 4 - SKU: A0.1028674 Composed by D.Kota. Arranged by D.Kota. Film/TV,Gospel,Sacred. Score and parts. 1 pages. D.Kota #3872897. Published by D.Kota (A0.1028674). Its more of a dark life going into light ,negative to positive.
$2.99
Another Door
#
2 Flûtes traversières (duo)
#
INTERMÉDIAIRE/AVANCÉ
#
Contemporain
#
Eric Bingham-Kumpf
#
Another Door
#
Eric Bingham-Kumpf
#
SheetMusicPlus
Flute Duet Flute - Level 4 - SKU: A0.1096312 Composed by Eric Bingham-Kumpf. 20th Century. Score. 7 pages. Eric Bingham-Kumpf #700276. Published by Eric...
(+)
Flute Duet Flute - Level 4 - SKU: A0.1096312 Composed by Eric Bingham-Kumpf. 20th Century. Score. 7 pages. Eric Bingham-Kumpf #700276. Published by Eric Bingham-Kumpf (A0.1096312).
$12.00
To Love Somebody
#
Michael Bolton
#
Peet du Toit
#
To Love Somebody
#
Peet du Toit
#
SheetMusicPlus
Brass Quintet Flugelhorn,Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1394105 By Michael Bolton. By Barry Gibb and Robin Gibb. Arranged by Peet du Toit. So...
(+)
Brass Quintet Flugelhorn,Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1394105 By Michael Bolton. By Barry Gibb and Robin Gibb. Arranged by Peet du Toit. Soul. 17 pages. Peet du Toit #977563. Published by Peet du Toit (A0.1394105). To Love Somebody is a song written by Barry and Robin Gibb. Produced by Robert Stigwood, it was the second single released by the Bee Gees from their international debut album, Bee Gees 1st, in 1967. The single reached No. 17 in the United States and No. 41 in the United Kingdom. The song's B-side was Close Another Door. The single was reissued in 1980 on RSO Records with How Can You Mend a Broken Heart as its flipside. The song ranked at number 94 on NME magazine's 100 Best Tracks of the Sixties. It was a minor hit in the UK and France. It reached the top 20 in the US. It reached the top 10 in Canada.In a 2017 interview with Piers Morgan's Life Stories, Barry was asked of all the songs that you've ever written, which song would you choose? Barry said that To Love Somebody was the song that he'd choose as it has a clear, emotional message.Taste this one with the soothing sounds of a Brass Quintet, supported by the Percussion. Enjoy!
$15.00
To Love Somebody
#
Contemporain
#
Michael Bolton
#
Peet du Toit
#
supported by the Percussion
#
To Love Somebody
#
Peet du Toit
#
SheetMusicPlus
Small Ensemble Drum Set,Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.802644 By Michael Bolton. By Barry Gibb and Robin Gibb. Arranged by Peet du Toit....
(+)
Small Ensemble Drum Set,Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.802644 By Michael Bolton. By Barry Gibb and Robin Gibb. Arranged by Peet du Toit. Contemporary. Score and parts. 21 pages. Peet du Toit #6196811. Published by Peet du Toit (A0.802644). To Love Somebody is a song written by Barry and Robin Gibb. Produced by Robert Stigwood, it was the second single released by the Bee Gees from their international debut album, Bee Gees 1st, in 1967. The single reached No. 17 in the United States and No. 41 in the United Kingdom. The song's B-side was Close Another Door. The single was reissued in 1980 on RSO Records with How Can You Mend a Broken Heart as its flipside. The song ranked at number 94 on NME magazine's 100 Best Tracks of the Sixties. It was a minor hit in the UK and France. It reached the top 20 in the US. It reached the top 10 in Canada.In a 2017 interview with Piers Morgan's Life Stories, Barry was asked of all the songs that you've ever written, which song would you choose? Barry said that To Love Somebody was the song that he'd choose as it has a clear, emotional message.Taste this one with the soothing sounds of a Brass Quintet - Trombone solo - supported by the Percussion. Enjoy!
$19.00
The Story Of Reuben Clamzo & His Strange Daughter
#
Chorale TTBB
#
FACILE
#
Arlo Guthrie
#
Craig Hanson
#
The Story Of Reuben Clamzo &am
#
Edition Craig Hanson
#
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...
(+)
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
Mysterious Moment for alto flute and string trio
#
Trio à Cordes: violon, alto, violoncelle
#
INTERMÉDIAIRE
#
Contemporain
#
David Warin Solomons
#
Mysterious Moment for alto flu
#
David Warin Solomons
#
SheetMusicPlus
String Ensemble,String Trio - Level 3 - SKU: A0.576736 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Wari...
(+)
String Ensemble,String Trio - Level 3 - SKU: A0.576736 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #119391. Published by David Warin Solomons (A0.576736). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00
Mysterious Moment for oboe and string trio
#
Contemporain
#
David Warin Solomons
#
Mysterious Moment for oboe and
#
David Warin Solomons
#
SheetMusicPlus
Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages....
(+)
Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #90581. Published by David Warin Solomons (A0.576733). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00
Guthrie: Here We Come A-Wassailing for String Quartet
#
Quatuor à cordes: 2 violons, alto, violoncelle
#
INTERMÉDIAIRE/AVANCÉ
#
Noël
#
Traditional
#
James M
#
Guthrie: Here We Come A-Wassai
#
jmsgu3
#
SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.1491580 Composed by Traditional. Arranged by James M. Guthrie. Chamber,Christmas,Hi...
(+)
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.1491580 Composed by Traditional. Arranged by James M. Guthrie. Chamber,Christmas,Historic,Holiday,Traditional. 13 pages. Jmsgu3 #1068280. Published by jmsgu3 (A0.1491580). Here We Come A-Wassailing is a traditional English Christmas carol with roots that likely extend back to the mid-19th century, if not earlier. The exact authorship of the carol is unknown. The song is associated with the tradition of wassailing, which involves going door-to-door singing in exchange for food and drink. This practice predates Christianity and was part of mid-winter celebrations. The term wassail originates from the Anglo-Saxon greeting waes hael, meaning be in good health. This greeting evolved into a toast, with one person saying was hail and another responding drinc hail while passing around a communal bowl of a drink made from mulled ale or mead, spices, and apples, known as wassail. Wassailing has two primary forms: one that occurs post-Christmas, often associated with Twelfth Night, and another that takes place before Christmas. The latter involves singing carols and sharing wassail from a bowl. At the same time, the former includes rituals to encourage fertility in orchards, such as singing to trees and offering cider-soaked toast. The carol Here We Come A-Wassailing has several variations, including Here We Come A-Caroling and Here We Come A-Christmasing, each with different lyrics but similar themes of merriment and well-wishing for the New Year.
$34.95
A Gift From The Bower (Revised)
#
Violoncelle
#
INTERMÉDIAIRE/AVANCÉ
#
New Age
#
Contemporain
#
Chris Becker
#
A Gift From The Bower
#
Beckeresque
#
SheetMusicPlus
Cello Solo - Level 4 - SKU: A0.1288214 Composed by Chris Becker. 21st Century,Classical,Contemporary,New Age. Individual part. 6 pages. Beckeresque (ASC...
(+)
Cello Solo - Level 4 - SKU: A0.1288214 Composed by Chris Becker. 21st Century,Classical,Contemporary,New Age. Individual part. 6 pages. Beckeresque (ASCAP) #879245. Published by Beckeresque (ASCAP) (A0.1288214). When I first saw the enormous chair Rachel Gardner and Carlos Canul constructed for A Gift from the Bower, an outdoor, multi-disciplinary group exhibition conceived by renowned artists James Surls and Charmaine Locke, I had a vision of a cellist seated in a chair on the chair, performing solo in a bower deep in the woods of Splendora Gardens. I shared this image with Rachel, who didn’t think I was nuts, and over the course of several weeks, composed a piece for unaccompanied cello to be performed at the opening of the exhibit. I was honored when cellist Patrick Moore agreed to premiere the work; his formidable technique and the deep expression he brings to his playing inspired me to embrace the challenge of composing a solo for his instrument.Knowing my piece would be performed outdoors, I was inspired to evoke the rhythm of sound events one hears in woods, especially the rise and fall of wind as it moves through branches and leaves. The very opening of the piece and later, what I hear as an extended coda, were created as moments for the cellist as much as for the listener and are performed in a sort of meditative state, calling to mind the age-old question, “If a tree falls in a forest and no one is around to hear it, does it make a sound?†The repeating measures of 16th notes in the piece’s demanding middle section pay tribute to two of my heroes, Terry Riley and Philip Glass. While composing the work, Bach’s Six Suites for Violoncello Solo was another important point of reference, as was double bassist Eberhard Weber's 1973 album, The Colours of Chloë.Once finished, it made sense to name the piece A Gift from the Bower since the opportunity to compose the work was a gift, and in exchange, so is the music I have composed.A Gift from the Bower premiered on April 22, 2023, by Patrick Moore at the Locke Surls Center for Art and Nature.A revised version of this piece was completed on September 5, 2023.
$6.99
Birthday Blues
#
Ensemble Jazz
#
INTERMÉDIAIRE
#
Michael Drake
#
Kevin Carberry
#
Birthday Blues
#
Michael Gene Drake
#
SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.1350144 By Michael Drake. By Michael Drake. Arranged by Kevin Carberry. Blues,Broadway,Film/TV,Jazz,Musi...
(+)
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.1350144 By Michael Drake. By Michael Drake. Arranged by Kevin Carberry. Blues,Broadway,Film/TV,Jazz,Musical/Show,Singer/Songwriter. 148 pages. Michael Gene Drake #934922. Published by Michael Gene Drake (A0.1350144). Birthday BluesHere is score and all the parts from my big band composition “Birthday Bluesâ€Â It’s my Birthday, it’s my Birthday, it’s my Birthday, it’s my Birthday. Give me the Birthday Blues. Here are the lyrics:Another year gone by another tear gone dry well it's my birthday. It’s my Birthday it’s my Birthday.Another fear says bye my life’s in gear and I'm high it's my birthday. It’s my Birthday, it’s my Birthday. Give me birthday hugs and kisses, that's really what I wishes on my birthday.Well I like to drinkin’ wine and the music feels just fineand the Lord knows for sure that the world is all mine,On my birthday, it's my birthday. Give me birth-day hugs and kisses, that's really what I wishes, on my birthday.People say I'm getting’ old well I insist they must be told.That with age comes a capacity to make love in winters cold.On my birthday, it's my birthday. Well give me birthday hugs and kisses, that's really what I wishes on my birthday.They say 2 girls are better than 1 and 3 is better than 2 If I had 4 I'd close the door and never beg for more!On my birthday, it's my birthday. Well Give me birthday hugs and kisses, that's really what I wishes on my birthday. Give me birthday hugs and kisses, that's really what I wishes on my birth-day. michaeldrakemusic@outlook.com  www.drakemusic.com.
$35.00
I Don’t Want to Play in Your Yard: Trumpet Feature
#
Quatuor de Cuivres
#
INTERMÉDIAIRE/AVANCÉ
#
H
#
F
#
I Don’t Want to Play in
#
Sweetwater Brass Press
#
SheetMusicPlus
Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1104138 Composed by H.W. Petrie. Arranged by F. Leslie Smith. 19th Century,Children,Comedy,Pop,Wedding. 2...
(+)
Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1104138 Composed by H.W. Petrie. Arranged by F. Leslie Smith. 19th Century,Children,Comedy,Pop,Wedding. 28 pages. Sweetwater Brass Press #707372. Published by Sweetwater Brass Press (A0.1104138).      Howard W. Petrie was a composer of popular music active in the late 19th and early 20th centuries. One of his most popular songs was “I Don’t Want to Play in Your Yard,†published early in his career, 1894. The song underwent a revival in the mid-1950s when Peggy Lee recorded it. It also figured prominently in the popular 1981 film Reds. Lyrics are credited to Philip Wingate, and his first verse sets up the story. Two little girls were next-door neighbors and best of friends. One day, however, a quarrel arose and “hot tears were shared.†One announced, “You can’t play in our yard.†The reply of the other forms the familiar chorus: I don't want to play in your yard, I don't like you any more, You'll be sorry when you see me sliding down our cellar door, You can't holler down our rain-barrel, you can't climb our apple tree, I don't want to play in your yard, if you won't be good to me.      The second verse tells of the reconciliation. The two girls miss each other. They kiss and make up and remain friends “all thro’ life.†But “in sweet dreams of childhood†we still remember the controversy of the yard.      This version features the group's Trumpets somewhat taking the roles of the two little girls. It retains the F major key in which it was written, changes tempo four times (in addition to a few rallentando/a tempo instructions) and includes two short, rather simple cadenzas, one for each Trumpet. It starts (rather incongruously!) with the eight 4/4 measures of “Mary, Mary, Quite Contrary†then transitions to ¾ for the remainder of the piece.      Trumpets predominate with melody and lead. However Horn and Trombone do occasionally come to the fore to provide introductions, call-and-response figures and recapitulations. Both Trumpets play a few notes above their staff—G# and A—but for the most part, all instruments perform within their normal playing range. Performance time is about three and a half minutes to perform.      Completed in 2022, performance time runs about 3 minutes, 34 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge. He would like to receive your suggestions, comments, corrections and criticisms. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.).
$7.95
Thank You
#
Basse electrique
#
INTERMÉDIAIRE/AVANCÉ
#
Musique Sacrée
#
Walter Hawkins
#
Daniel Roberts
#
Thank You
#
Daniel P Roberts
#
SheetMusicPlus
Bass Guitar - Level 4 - SKU: A0.1173044 Composed by Walter Hawkins. Arranged by Daniel Roberts. Christian,Praise & Worship,Religious,Sacred,Spiritual. S...
(+)
Bass Guitar - Level 4 - SKU: A0.1173044 Composed by Walter Hawkins. Arranged by Daniel Roberts. Christian,Praise & Worship,Religious,Sacred,Spiritual. Score. 6 pages. Daniel P Roberts #773243. Published by Daniel P Roberts (A0.1173044). Arranged for 5 string Bass with TAB. Tragedies are common placeAll kinds of diseases, people are slipping awayEconomies down, people can't get enough payAs for me all I can say isThank you Lord for all you've done for meYeah, yeah, yeahFolks without homesLiving out in the streets and the drug habit some sayThey just can't beatMuggers and robbers, no place seems to be safeBut You've been my protection every step of the wayI wanna say, thank you Lord for all You've done for meYeah, yeahIt could have been me (thank you)Outdoors (thank you)No food (thank you)No clothes (thank you)Or left alone (thank you)Without a friend (thank you)Or just another number (thank you)With a tragic end (thank you)But you didn't see fit (thank you)To let none of these things be (thank you)'Cause everyday by your power (thank you)You keep on keeping me (thank you)And I wanna say(Thank you) for all you've done for meHey, heyIt could have been me (thank you)Outdoors (thank you)With no food (thank you)And no clothes (thank you)Or left alone (thank you)Without a friend (thank you)Or just another number (thank you)With a tragic end (thank you)But you didn't see fit (thank you)To let none of these things be, hey'Cause everyday by your power (thank you)You keep on, you keep on keeping meI wanna say (Thank you lord for all you've done for me)Yeah, yeah-yeahI just wanna say thank you jesus (Thank you lord for all you've done for me)Yeah, yeah-yeahI wanna say thank you lord (Thank you lord for all you've done for me)Thank you (Thank you for your power)Thank you (Thank you for protection)Thank you (every hour)Thank you jesus (I wanna to say thank your for love.
$4.99
Ma Mère L'Oye
#
Orchestre
#
Maurice Ravel
#
Ma Mère L'Oye
#
Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Orchestra - SKU: S9.Q18779 Cinq Pièces Enfantines. Composed by Maurice Ravel. This edition: study score. Ernst Eulenburg - Orchestra - Score. ...
(+)
Orchestra - SKU: S9.Q18779 Cinq Pièces Enfantines. Composed by Maurice Ravel. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q18779. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q18779). German • English • French.Ravel's Ma Mère L’Oye carries its listeners into the mysterious realm of fairy tales. Enchanting soundscapes unfold and open the door to another world in which Sleeping Beauty or Beauty and the Beast can be found among other enchanting tales. Ravel originally composed the piece for piano duet but later scored it for orchestra and extended it to a ballet. Ma Mère L’Oye is now published as an urtext edition in the easy-to-read format 19x26. .
$21.99
Singing in the Streets
#
Piano, Voix
#
FACILE
#
Ian Calvert
#
Singing in the Streets
#
Ian Calvert
#
SheetMusicPlus
Piano,Vocal,Voice - Level 2 - SKU: A0.1298967 Composed by Ian Calvert. Christmas,Contemporary,Holiday. Score. 7 pages. Ian Calvert #888817. Published by...
(+)
Piano,Vocal,Voice - Level 2 - SKU: A0.1298967 Composed by Ian Calvert. Christmas,Contemporary,Holiday. Score. 7 pages. Ian Calvert #888817. Published by Ian Calvert (A0.1298967). This is the first publication of a new Christmas song, set for baritone and piano. The words are those of a poem by Leonard Clark (1905 – 1981), an English poet who was raised in The Forest of Dean, in the west of England. In 1972 he published a slim little book of Christmas poems, of which ‘Singing in the Streets’ is one, surely one of the most appealing of Christmas poems. It gives its name to the book. The poem tells of an older man revisiting the village of his boyhood, and wondering whether, somehow, the streets still hold the sound of the carols that he and the other boys and girls sang there. It begins: ‘I had almost forgotten the singing in the streets,Snow piled up by the houses, drifting Underneath the door into the warm room, …’ It is very evocative of that time and of the magic that Christmas always holds for children. Drawn from the same book of poems there is available another new Christmas song, called The Birth; that one is set in two versions, one for voice and piano and the other for SATB a cappella. Ian Calvert.
$2.99
Seven Days Without Prayer
#
David Kai
#
David Kai
#
Seven Days Without Prayer
#
David Kai
#
SheetMusicPlus
Drum Set,Electric Bass Guitar,Piano Accompaniment,Synthesizer - Level 4 - SKU: A0.1105114 By David Kai. By David Kai. Arranged by David Kai. Christian,C...
(+)
Drum Set,Electric Bass Guitar,Piano Accompaniment,Synthesizer - Level 4 - SKU: A0.1105114 By David Kai. By David Kai. Arranged by David Kai. Christian,Contemporary,Jazz,Rock. Full Performance. Duration 199. David Kai #708361. Published by David Kai (A0.1105114). The title for this song came from a plaque that I saw in a Christian book store. Jesus’ teachings about prayer from Matthew 7 or Luke 11 were also an inspiration. This song was first recorded by the Sellwoods gospel group. Seven Days Without Prayer words and music by David Kai ©1980 It’s a world where we depend on communication Through the wires and through the air information flows It’s an age where thoughts and words can cross the ocean It’s a shrinking world, but the space between us grows Though we talk to one another, there’s something missing We still need to speak from the soul, not just the mind We still need the oldest form of communication It’s available for free at any time The lines are open, why not send in a call? The Lord is waiting, just to hear from you all So just take some time for praying, God would love to hear you speak You know seven days without prayer makes one weak If a child should ask its father for bread and fishes Would that child receive a stone or a snake in its place? No, and if even earthly fathers will bless their children Won’t the heavenly Father bless and give you grace? So if you knock upon the door it will be opened If you speak unto the Lord you will be heard Look to Jesus, you will not be disappointed You will find he’s always faithful to his word The lines are open, why not send in a call? The Lord is waiting, just to hear from you all So just take some time for praying, God would love to hear you speak You know seven days without prayer makes one weak The lines are open, why not send in a call? The Lord is waiting, just to hear from you all So just take some time for praying, God would love to hear you speak You know seven days without prayer makes one weak Makes one weak.
$1.99
Wilt Thou Forgive?
#
Chorale SATB
#
Ron Anderson
#
Wilt Thou Forgive?
#
Ron James Anderson
#
SheetMusicPlus
Choral Choir (SATB) - SKU: A0.965556 Composed by Ron Anderson. A Cappella,Christian,Contemporary,Sacred. Octavo. 9 pages. Ron James Anderson #5994791. P...
(+)
Choral Choir (SATB) - SKU: A0.965556 Composed by Ron Anderson. A Cappella,Christian,Contemporary,Sacred. Octavo. 9 pages. Ron James Anderson #5994791. Published by Ron James Anderson (A0.965556). Wilt Thou Forgive? is a setting of the John Donne poem, A Hymn to God the Father. John Donne (1572 – 1631) was one of the greatest of the metaphysical poets in England, a group that included George Herbert, Andrew Marvell, and possibly John Milton. An Anglican priest with a less than perfect moral reputation, Donne expressed through his poetry (notably, the Holy Sonnets) the incongruities of human attempts at living the Christian life.In the present poem, the speaker reveals his struggles with sin-the sin he was born with, the sin he commits daily, the sin through which he influences others to sin, and the sin he has quit for a short while, only to take up again for many more years. He confesses yet another sin: the fear that he will perish on the shore, presumably to die with unforgiven sins, consigned to eternal damnation. His desperate plea is that God’s Son shall shine as he shines now and heretofore. If God answers this prayer, he will fear no more, and will know that all his sins, including the sin of fear, are finally forgiven.This musical setting uses subtle inflection of rhythm and meter to mirror the text, aiming for natural prosody of speech and expressive accentuation. Melodic contours emphasize important words, while harmonic placement projects the various moods throughout the poem. The key relationships involve mostly shifts of minor 3rds; starting in D minor, the piece moves through several keys, reaching its final statement in D major. A variety of textures maintains aural interest: clusters and close harmony, full divisi chords, and an imitative passage painting the words, won others to sin, and made my sin their door. A series of shimmering major chords brings the work to a close, declaiming the words, Thy Son shall shine as he shines now and heretofore, and, I fear no more.
$2.50
If Only In My Dreams
#
Piano, Voix
#
INTERMÉDIAIRE
#
Cheryl Prazak
#
Jon Burr
#
If Only In My Dreams
#
Cheryl Prazak
#
SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1327476 By Cheryl Prazak. By Lyrics: Cheryl Prazak and Music by Jon Burr. Arranged by Jon Burr. Contemporary,Count...
(+)
Piano,Vocal,Voice - Level 3 - SKU: A0.1327476 By Cheryl Prazak. By Lyrics: Cheryl Prazak and Music by Jon Burr. Arranged by Jon Burr. Contemporary,Country. Score. 15 pages. Cheryl Prazak #915493. Published by Cheryl Prazak (A0.1327476). If Only In My Dreams is a song of longing for a far away spouse sung by soldier stationed far away.Music, arranging and production by Jon BurrThe Lyrics:The moon shines bright, drifting through the pines tonight, The meadow lies blanketed with dew,Stars take their flight, chasing ‘way the lingering night, And I lie here dreaming, dear, of you.Lonely the nights, when I long to hold you tight, In my dreams, I linger and pretend.Ev’ning draws nigh, pensive fantasies take flight,My eyes close, dreamy visions descend.  Nights are cold and lonely; I’m so in love with you.Wrapped up in your arms, I surrender to your charms, If only in my dreams, can I hold you.Mournful day long, I am trying to stay strong.I can only sit here, dear, and dream.  Please play our song, you remember our love song,And together we will dream our dream.The moon gives way, breaking forth another day,And the last star’s twinkle has fade.I see your face, with the dawn of each new day, Morn breaks through, and I’m dreaming again.  Candles in the window, yellow ribbons on the door,When I see the glow and the ribbons I will knowThere you are, I will leave your arms no more.Every day will be a dream, dear, when I am there with you.Although we’re far apart, you linger in my heart, love of my life, my wonderful, amazing wife; my wonderful military wife.
$4.99
Step In Time
#
Ensemble de cuivres
#
INTERMÉDIAIRE/AVANCÉ
#
Richard M
#
Kevin P Holdgate
#
Step In Time
#
Kevin P Holdgate
#
SheetMusicPlus
Brass Ensemble - Level 4 - SKU: A0.862340 Composed by Richard M. Sherman and Robert B. Sherman. Arranged by Kevin P Holdgate. 20th Century,Broadway,Cont...
(+)
Brass Ensemble - Level 4 - SKU: A0.862340 Composed by Richard M. Sherman and Robert B. Sherman. Arranged by Kevin P Holdgate. 20th Century,Broadway,Contest,Festival,Film/TV,Musical/Show. Score and parts. 45 pages. Kevin P Holdgate #468840. Published by Kevin P Holdgate (A0.862340). This is an arrangement with a tale to tell... A few years ago my wife and I were invited to attend a surprise 90th birthday party for the legendary brass band conductor James Scott. The party was held at Uppermill golf course in the heart of Saddleworth. Anyone familiar with the annual brass band festival that is the Whit Friday March contests will be familiar with the area and perhaps also with its somewhat damp climate. My wife and I decided that we would make a mini-break out of it and took our touring caravan to stay on a small farm site near Freisland (another Whit Friday venue). the weather was as predicted and it rained... and it rained... and then it rained some more to the extent that we had a family of ducks swimming around outside our caravan door. TV, and Internet connection in Saddleworth, in a caravan in the rain is virtually non-existent so we were well and truly stuck. We ventured out into nearby town of Oldham and eventually found a bookshop. Browsing through the music section I stumbled across a piano reduction of the show score to Mary Poppins. Contained in the score was a 32 bar, simple piano reduction of Step in Time... The rest, as they say, is history... This arrangement is not such a simple reduction. There are frequent changes of key, and time signatures throughout, but it has proven to be great fun to play and rehearse. Particularly with bands that are not the best 'sight readers'...
$29.99
Coopey Falls
#
Piano seul
#
Ian Evans Guthrie
#
Coopey Falls
#
Ian Evans Guthrie
#
SheetMusicPlus
Piano Solo - SKU: A0.1024485 Composed by Ian Evans Guthrie. 20th Century,Children,Contemporary,Instructional. Score. 11 pages. Ian Evans Guthrie #532485...
(+)
Piano Solo - SKU: A0.1024485 Composed by Ian Evans Guthrie. 20th Century,Children,Contemporary,Instructional. Score. 11 pages. Ian Evans Guthrie #5324859. Published by Ian Evans Guthrie (A0.1024485). Coopey Falls is an easy waterfall to access, yet few know how to find it. One way is to knock kindly on the door of those who own the property, but another is to play this piece for piano solo (which is the fourth movement from my Waterfalls of the Columbia River Gorge). The demanding passages are hardly noticeable once you learn the piece, with its exuberant, thrilling, beautiful textures that express the multi-seasonal experience at this secluded location!
$8.99
<
1
26
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
Another Door
