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--INSTRUMENTS--
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XYLOPHONE
Anyway You Want It
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6
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5
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1
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1
Saxophone Alto et Piano
1
Quatuor de Saxophones: 4 saxophones
1
Flûte traversière et Piano
1
Cuivres
Trompette, Piano
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
Cor et Piano
1
Cordes
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1
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Fanfare
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TRI ET FILTRES
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
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OPERA
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Vous avez sélectionné:
Anyway You Want It
Partitions à imprimer
31 partitions trouvées
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1
26
Hallelujah Anyway
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Flûte traversière et Piano
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FACILE
#
Rend Collective
#
Jeff Tincher
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Hallelujah Anyway
#
Jeff Tincher
#
SheetMusicPlus
Piano,Soprano Flute - Level 2 - SKU: A0.1395225 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Arranged by Jeff Tincher. Chris...
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Piano,Soprano Flute - Level 2 - SKU: A0.1395225 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Arranged by Jeff Tincher. Christian,Contemporary,Praise & Worship,Rock,Sacred. Score and part. 12 pages. Jeff Tincher #978693. Published by Jeff Tincher (A0.1395225). If you want your congregation/audience to stand and participate, this song will do it. In the original key from their Whosoever project, this one is getting a lot of airplay and it rocks the house. Duration = 4:15. Visit my websites: https://jtp.spread.name/, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing/.
$5.99
Hallelujah Anyway
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Flûte, Hautbois, Clarinette, Basson
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FACILE
#
Rend Collective
#
Jeff Tincher
#
Hallelujah Anyway
#
Jeff Tincher
#
SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 2 - SKU: A0.1395207 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and ...
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Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 2 - SKU: A0.1395207 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Arranged by Jeff Tincher. Christian,Contemporary,Praise & Worship,Rock,Sacred. 17 pages. Jeff Tincher #978674. Published by Jeff Tincher (A0.1395207). If you want your congregation/audience to stand and participate, this song will do it. In the original key from their Whosoever project, this one is getting a lot of airplay and it rocks the house. Duration = 4:15. Visit my websites: https://jtp.spread.name/, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing/.
$12.99
Hallelujah Anyway
#
Chorale SSAA
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FACILE
#
Rend Collective
#
Jeff Tincher
#
Hallelujah Anyway
#
Jeff Tincher
#
SheetMusicPlus
Choral Choir,Choral (SSAA) - Level 2 - SKU: A0.1395220 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Arranged by Jeff Tincher...
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Choral Choir,Choral (SSAA) - Level 2 - SKU: A0.1395220 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Arranged by Jeff Tincher. Christmas,Contemporary,Praise & Worship,Rock,Sacred. 13 pages. Jeff Tincher #978688. Published by Jeff Tincher (A0.1395220). If you want your congregation/audience to stand and participate, this song will do it. In the original key from their Whosoever project, this one is getting a lot of airplay and it rocks the house. Duration = 4:15. Visit my websites: https://jtp.spread.name/, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing/.
$1.99
Hallelujah Anyway
#
Saxophone Alto et Piano
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FACILE
#
Rend Collective
#
Jeff Tincher
#
Hallelujah Anyway
#
Jeff Tincher
#
SheetMusicPlus
Alto Saxophone,Piano - Level 2 - SKU: A0.1395227 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Arranged by Jeff Tincher. Chri...
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Alto Saxophone,Piano - Level 2 - SKU: A0.1395227 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Arranged by Jeff Tincher. Christian,Contemporary,Praise & Worship,Rock,Sacred. Score and part. 12 pages. Jeff Tincher #978696. Published by Jeff Tincher (A0.1395227). If you want your congregation/audience to stand and participate, this song will do it. In the original key from their Whosoever project, this one is getting a lot of airplay and it rocks the house. Duration = 4:15. Visit my websites: https://jtp.spread.name/, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing/.
$5.99
Hallelujah Anyway
#
Quatuor de Cuivres : 2 trompettes, trombone, tuba
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FACILE
#
Rend Collective
#
Jeff Tincher
#
Hallelujah Anyway
#
Jeff Tincher
#
SheetMusicPlus
Trumpet Quartet Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1395210 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Arranged by J...
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Trumpet Quartet Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1395210 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Arranged by Jeff Tincher. Christian,Contemporary,Praise & Worship,Rock,Sacred. 17 pages. Jeff Tincher #978677. Published by Jeff Tincher (A0.1395210). If you want your congregation/audience to stand and participate, this song will do it. In the original key from their Whosoever project, this one is getting a lot of airplay and it rocks the house. Duration = 4:15. Visit my websites: https://jtp.spread.name/, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing/.
$12.99
Hallelujah Anyway
#
Trompette, Piano
#
FACILE
#
Rend Collective
#
Jeff Tincher
#
Hallelujah Anyway
#
Jeff Tincher
#
SheetMusicPlus
B-Flat Trumpet,Piano - Level 2 - SKU: A0.1395222 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Arranged by Jeff Tincher. Chri...
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B-Flat Trumpet,Piano - Level 2 - SKU: A0.1395222 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Arranged by Jeff Tincher. Christian,Contemporary,Praise & Worship,Rock,Sacred. Score and part. 12 pages. Jeff Tincher #978691. Published by Jeff Tincher (A0.1395222). If you want your congregation/audience to stand and participate, this song will do it. In the original key from their Whosoever project, this one is getting a lot of airplay and it rocks the house. Duration = 4:15. Visit my websites: https://jtp.spread.name/, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing/.
$5.99
Hallelujah Anyway
#
Quatuor de Saxophones: 4 saxophones
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FACILE
#
Rend Collective
#
Jeff Tincher
#
Hallelujah Anyway
#
Jeff Tincher
#
SheetMusicPlus
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 2 - SKU: A0.1395206 By Rend Collective. ...
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Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 2 - SKU: A0.1395206 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Arranged by Jeff Tincher. Christian,Contemporary,Praise & Worship,Rock,Sacred. 17 pages. Jeff Tincher #978673. Published by Jeff Tincher (A0.1395206). If you want your congregation/audience to stand and participate, this song will do it. In the original key from their Whosoever project, this one is getting a lot of airplay and it rocks the house. Duration = 4:15. Visit my websites: https://jtp.spread.name/, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing/.
$12.99
Hallelujah Anyway
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Piano, Voix et Guitare
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FACILE
#
Rend Collective
#
Jeff Tincher
#
Hallelujah Anyway
#
Jeff Tincher
#
SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 2 - SKU: A0.1395201 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Arranged by Jeff Tincher. ...
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Guitar,Piano,Vocal,Voice - Level 2 - SKU: A0.1395201 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Arranged by Jeff Tincher. Christian,Contemporary,Praise & Worship,Rock,Sacred. Score. 10 pages. Jeff Tincher #978668. Published by Jeff Tincher (A0.1395201). If you want your congregation/audience to stand and participate, this song will do it. In the original key from their Whosoever project, this one is getting a lot of airplay and it rocks the house. Duration = 4:15. Visit my websites: https://jtp.spread.name/, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing/.
$5.99
Hallelujah Anyway
#
Quatuor à cordes: 2 violons, alto, violoncelle
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FACILE
#
Rend Collective
#
Jeff Tincher
#
Hallelujah Anyway
#
Jeff Tincher
#
SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 2 - SKU: A0.1395205 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Ar...
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String Quartet Cello,String Quartet,Viola,Violin - Level 2 - SKU: A0.1395205 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Arranged by Jeff Tincher. Christian,Contemporary,Praise & Worship,Rock,Sacred. 17 pages. Jeff Tincher #978672. Published by Jeff Tincher (A0.1395205). If you want your congregation/audience to stand and participate, this song will do it. In the original key from their Whosoever project, this one is getting a lot of airplay and it rocks the house. Duration = 4:15. Visit my websites: https://jtp.spread.name/, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing/.
$12.99
Hallelujah Anyway
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Cor et Piano
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FACILE
#
Rend Collective
#
Jeff Tincher
#
Hallelujah Anyway
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Jeff Tincher
#
SheetMusicPlus
French Horn,Piano - Level 2 - SKU: A0.1395230 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Arranged by Jeff Tincher. Christi...
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French Horn,Piano - Level 2 - SKU: A0.1395230 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Arranged by Jeff Tincher. Christian,Contemporary,Praise & Worship,Rock,Sacred. Score and part. 12 pages. Jeff Tincher #978699. Published by Jeff Tincher (A0.1395230). If you want your congregation/audience to stand and participate, this song will do it. In the original key from their Whosoever project, this one is getting a lot of airplay and it rocks the house. Duration = 4:15. Visit my websites: https://jtp.spread.name/, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing/.
$5.99
Hallelujah Anyway
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Chorale TTBB
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FACILE
#
Rend Collective
#
Jeff Tincher
#
Hallelujah Anyway
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Jeff Tincher
#
SheetMusicPlus
Choral Choir,Choral (TTBB) - Level 2 - SKU: A0.1395217 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Arranged by Jeff Tincher...
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Choral Choir,Choral (TTBB) - Level 2 - SKU: A0.1395217 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Arranged by Jeff Tincher. Christian,Contemporary,Praise & Worship,Rock,Sacred. 13 pages. Jeff Tincher #978685. Published by Jeff Tincher (A0.1395217). If you want your congregation/audience to stand and participate, this song will do it. In the original key from their Whosoever project, this one is getting a lot of airplay and it rocks the house. Duration = 4:15. Visit my websites: https://jtp.spread.name/, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing/.
$1.99
Hallelujah Anyway
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Chorale SATB
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FACILE
#
Rend Collective
#
Jeff Tincher
#
Hallelujah Anyway
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Jeff Tincher
#
SheetMusicPlus
Choral Choir,Choral (SATB) - Level 2 - SKU: A0.1395212 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Arranged by Jeff Tincher...
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Choral Choir,Choral (SATB) - Level 2 - SKU: A0.1395212 By Rend Collective. By Chris Llewellyn, Gareth Gilkeson, and Matt Maher. Arranged by Jeff Tincher. Christian,Contemporary,Praise & Worship,Rock,Sacred. 13 pages. Jeff Tincher #978680. Published by Jeff Tincher (A0.1395212). If you want your congregation/audience to stand and participate, this song will do it. In the original key from their Whosoever project, this one is getting a lot of airplay and it rocks the house. Duration = 4:15. Visit my websites: https://jtp.spread.name/, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing/.
$1.99
With All My Heart I Thank You
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Piano, Voix
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FACILE
#
Musique Sacrée
#
Stephen R Dalrymple
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Stephen R Dalrymple
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With All My Heart I Thank You
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Stephen R Dalrymple
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SheetMusicPlus
Piano,Vocal,Voice - Level 2 - SKU: A0.818338 By Stephen R Dalrymple. By Stephen R Dalrymple (Dalrymple Designs). Arranged by Stephen R Dalrymple. Praise...
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Piano,Vocal,Voice - Level 2 - SKU: A0.818338 By Stephen R Dalrymple. By Stephen R Dalrymple (Dalrymple Designs). Arranged by Stephen R Dalrymple. Praise & Worship. Score. 32 pages. Stephen R Dalrymple #6200707. Published by Stephen R Dalrymple (A0.818338). With all My Heart I Thank You ♫ original song by Stephen R Dalrymple ♫ CCLI #7153226 ♫ Worship Team Edition ♫ Based on Psalm 9 ♫ Thanks anyway… I suppose I should thank you… Thank you!... Thanks a lot (NOT!)… I thank you from the bottom of my heart… Thank you very much. That’s the nicest thing anyone’s every done for me. Our expressions of gratitude can represent quite a range of emotion. Ungrateful < lukewarm < minimal < genuine < deeply felt < extravangantly expressed. ♫ ‘With all my heart’ is often a Christian cliché. But it caught my eye in this Psalm of David. ♫ David had a lot to be thankful for. His early experiences, physical strength, musical abilities, organizational talent, leadership abilities, his loyal following, his wealth, the rise from shepherd (pretty low status in Hebrew culture) to monarch, his extended and extensive family, the many, many times God had rescued him from physical danger, and God’s grace that saved him from rightfully being publicly executed as an adulterer. ♫ “With all my heart.†I need to ask myself “Is my gratitude to God fresh, heartfelt, and appropriate?†♫ music © 2020 (copyright registered in Worthy Worship and 6 Other Unpublished Works) ♫ recording ℗ 2020 Stephen R Dalrymple ♫ presentation © 2022 Stephen R Dalrymple ♫ sequenced by the composer ♫ This .pdf file includes 1) labeled copies for up to 7 printed copies of the vocal with piano accompaniment and 2) vocal with piano accompaniment for 10 inch tablet. (Tell your computer which pages you want to print. There are programs online that will allow you to split pdf files so that you can choose parts you wish to print).
$4.50
Anyway You Want It
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Fanfare
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INTERMÉDIAIRE/AVANCÉ
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Rock
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Neal Schon
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Ward Miller
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Anyway You Want It
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Dr. Ward Miller, LLC
#
SheetMusicPlus
By Neal Schon. By Neal Schon, Steve Perry, Tom Wallace, and Tony McCutchen. Arranged by Ward Miller. Rock. 38 pages. Dr. Ward Miller, LLC #889578. Pub...
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By Neal Schon. By Neal Schon, Steve Perry, Tom Wallace, and Tony McCutchen. Arranged by Ward Miller. Rock. 38 pages. Dr. Ward Miller, LLC #889578. Published by Dr. Ward Miller, LLC
$49.99
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
#
The Story Of Reuben Clamzo &am
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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...
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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
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
Turkey Lurkey Run
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Piano Facile
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Contemporain
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Joy Gilmore, Hsin Hui Gilmore
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Turkey Lurkey Run
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Joyful Sound Music
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SheetMusicPlus
Easy Piano - SKU: A0.906753 Composed by Joy Gilmore, Hsin Hui Gilmore. Contemporary. Score. 6 pages. Joyful Sound Music #3867675. Published by Joyful So...
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Easy Piano - SKU: A0.906753 Composed by Joy Gilmore, Hsin Hui Gilmore. Contemporary. Score. 6 pages. Joyful Sound Music #3867675. Published by Joyful Sound Music (A0.906753). Late Beginner levelThis is a weird song that I have no idea how I got into it. But anyway, just image you are a turkey and you don’t want to be on the dining table. Therefore, you are planning on a escape from the kitchen prison……Because of the young kids are not good with sharps. Therefore, I have two versions. One is with notes name and the other one is the regular sheet music.The tremolo at the beginning and the end indicated the turkey’s gobble. It is ok if your student can not play tremolo evenly. For that age, it is just having fun to play tremolo.Hope you enjoy it.This PDF is designed for two-sided printing. It is going to look like a sheet music book. This is the reason why there is one blank page in some of the songs. You can also just print the sheet music pages only.
$2.99
In My Room
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Chorale TTBB
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INTERMÉDIAIRE/AVANCÉ
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The Beach Boys
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Donald A
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In My Room
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Donald A Mills
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SheetMusicPlus
Choral Choir (TTBB) - Level 4 - SKU: A0.928974 By The Beach Boys. By Brian Wilson and Gary Usher. Arranged by Donald A. Mills, 2019. A Cappella,Pop,Rock...
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Choral Choir (TTBB) - Level 4 - SKU: A0.928974 By The Beach Boys. By Brian Wilson and Gary Usher. Arranged by Donald A. Mills, 2019. A Cappella,Pop,Rock. Octavo. 3 pages. Donald A Mills #4351149. Published by Donald A Mills (A0.928974). In My Room, by The Beach Boys. This gentle song may be sung as a prayer, with tenderness. Your audiences will love the melody and harmonies. This arrangement by Donald A. Mills is for barbershop as a quartet or chorus. It is TTBB (TLBB) a cappella, sung softly, sweetly, legato, singing the four dotted quarter notes as a 3/4 time. The Beach Boys have mentioned that they wrote In My Room in 12/8 time because they had tired of the 3/4 time many songs of the day were written in. From Wikipedia, Gary Usher explained that 'In My Room found us taking our craft a little more seriously. Brian and I came back to the house one night after playing 'over-the-line' (a baseball game). I played bass and Brian was on organ. The song was written in an hour... Brian's melody all the way. The sensitivity... the concept meant a lot to him. When we finished, it was late, after our midnight curfew. In fact, Murry [the Wilson brothers' father] came in a couple of times and wanted me to leave. Anyway, we got Audree [the Wilson brothers' mother], who was putting her hair up before bed, and we played it for her. She said, 'That's the most beautiful song you've ever written.' Murry said, 'Not bad, Usher, not bad,' which was the nicest thing he ever said to me. Gary Usher (who co-wrote the lyrics with Brian Wilson) further describes that Brian was always saying that his room was his whole world. Brian seconds this opinion: I had a room, and I thought of it as my kingdom. And I wrote that song, very definitely, that you're not afraid when you're in your room. It's absolutely true. In 1990, Brian wrote, I also enjoyed producing 'In My Room'. There is a story behind this song. When Dennis, Carl and I lived in Hawthorne as kids, we all slept in the same room. One night I sang the song 'Ivory Tower' to them and they liked it. Then a couple of weeks later, I proceeded to teach them both how to sing the harmony parts to it. It took them a little while, but they finally learned it. We then sang this song night after night. It brought peace to us. When we recorded 'In My Room', there was just Dennis, Carl and me on the first verse...and we sounded just like we did in our bedroom all those nights. This story has more meaning than ever since Dennis' death.
$1.99
Yesterday's Future
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Piano seul
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FACILE
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New Age
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Contemporain
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Damien Gauci
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Yesterday's Future
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Damien Gauci
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SheetMusicPlus
Piano - Level 2 - SKU: A0.1408122 By Damien Gauci. By Damien Gaucio. Contemporary,New Age. Full Performance. Duration 184. Damien Gauci #990692. Publish...
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Piano - Level 2 - SKU: A0.1408122 By Damien Gauci. By Damien Gaucio. Contemporary,New Age. Full Performance. Duration 184. Damien Gauci #990692. Published by Damien Gauci (A0.1408122). This is my second piece that I have wrote for piano and in general. The reason I chose the name Yesterday's Future is basically because I wanted to write a piece where it portrays moving on from something happening in you life. If I were to write it again, I would probably change up the melody a bit halfway through to make it more interesting, but nonetheless, I am pretty happy with it.As the theme continues throughout the whole the piece, changing very subtly, it resembles something you need to let go of. At the end of the piece with the held right hand and moving left hand, I wanted to make that part sound like it is moving on with the dynamics changing to resemble anger and relief. Anyway, thanks again for listening, hope you enjoyed it and there is much more to come!
$1.99
Yesterday's Future
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Piano seul
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Contemporain
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Damien Gauci
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Yesterday's Future
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Damien Gauci
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SheetMusicPlus
Piano Solo - SKU: A0.1014879 Composed by Damien Gauci. Contemporary. Score. 4 pages. Damien Gauci #4641457. Published by Damien Gauci (A0.1014879).
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Piano Solo - SKU: A0.1014879 Composed by Damien Gauci. Contemporary. Score. 4 pages. Damien Gauci #4641457. Published by Damien Gauci (A0.1014879). This is my second piece that I have wrote for piano and in general. The reason I chose the name Yesterday's Future is basically because I wanted to write a piece where it portrays moving on from something happening in you life. If I were to write it again, I would probably change up the melody a bit halfway through to make it more interesting, but nonetheless, I am pretty happy with it. As the theme continues throughout the whole the piece, changing very subtly, it resembles something you need to let go of. At the end of the piece with the held right hand and moving left hand, I wanted to make that part sound like it is moving on with the dynamics changing to resemble anger and relief. Anyway, thanks again for listening, hope you enjoyed it and there is much more to come!
$2.00
Waltz Op 69 No 2 (Arranged for Guitar)
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Guitare notes et tablatures
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INTERMÉDIAIRE
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Classique
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Frederic Chopin
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Brian Streckfus
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Waltz Op 69 No 2
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Brian Streckfus
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SheetMusicPlus
Guitar - Level 3 - SKU: A0.1177383 By Frederic Chopin. By FreÌdeÌric Chopin. Arranged by Brian Streckfus. 19th Century,Classical,Contemporary,Inst...
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Guitar - Level 3 - SKU: A0.1177383 By Frederic Chopin. By FreÌdeÌric Chopin. Arranged by Brian Streckfus. 19th Century,Classical,Contemporary,Instructional,Romantic Period. Guitar Tab. 6 pages. Brian Streckfus #776814. Published by Brian Streckfus (A0.1177383). Key: Changed from B minor to A minorCapo: 2 (If you want original key, but I wasn't a fan of capo 2; it felt like there was no bass notes.)1. Arranged for guitar. 2. Piano pedal markings removed 3. Phrase markings removed and opted for commas. 4. Re-harmonized 5. Key changed from B minor to A minor. 6. Slurs 7. Left hand fingers 8. Tablature9. Harmonics added when advantageous, but playing the regular note would work as well.10. Piano pedal markings removed and replaced with commas. It's a flaw of sheet music that slurs, ties, and phrase markings are all the same symbol, and having all three happening can clutter a score.Compromises This may sound obvious, but of course I had to make some alterations to make this flow properly on guitar. Many of the original chord inversions on the piano were not kept. However, many harmonies were kept intact as far as following the chord nomenclature name. Measure 50 was originally an A minor chord, the irony is that the F major suprise is an homage to Chopin anyways, suprised he didn't opt for it. To be honest, I don't like how there is a perfect authentic cadence in measure 50. I think modern audiences would want to clap too badly, so I believe that ending needs to be slightly messed up to propel the music forward, and give a sense that there is still a problem. The other chord that was changed was an E7b9 to a Ddim7 in measure 78. If you know your theory well, you'll realize these chords have the same exact function and nearly the same notes, it's just that Ddim7 flowed a bit better on guitar. I'd rather have guitarists play the rhythms correctly and with musicality, than have guitarist clunkily go though overly large chords in order to mantain historical accuracy. Measure 15 was hard to keep the original chord intact. A Bb/D with a G in the melody as a suspension sounds more like a g minor chord. That is cliche Chopinesque neopolitan moment so the Bb is crucial to mantain. Having some rough sort of Bbmaj7 or G minor chord while mantaining the melody seemed to sound the best even though the name of the chord might have gotten a little off. I tried chord charts, but they seemed messier than what it was worth. I also could have the denser tablature in the sheet music, but that does make it look 10x more intimidating. So this version is unique in that the tablature is my denser arrangement, whereas the sheet music would allow someone to quickly make a new arrangement. I like this ethos because most guitarists are likely to be much better at playing chord quickly when they don't have to have an exact voicing. This makes this arrangement easier to further perfect since I am naming the harmonies, which often isn't done in classical music.BackstoryThis is one of my favorite pieces, and also my favorite composer. I feel classical guitar repertoire is lacking easily playable music in the romantic style. Often, if it is romantic guitar music, it is extemely difficult and therefore only a select few can enjoy performing it. Also, I sometimes get my hopes up to find a romantic guitar composer, but then after listening, there's nothing quite like Chopin. Obviously, you will have to have some chops to play this since it's one of the most ambitious undertakings a guitarist could take, but it's also not so hard that you have to be train for a decade because I changed the key.
$1.99
Ledgend Of Marmaid
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Piano seul
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INTERMÉDIAIRE
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Asumi Nakata
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Alba Calvo Hernández
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Ledgend Of Marmaid
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Alba Calvo
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SheetMusicPlus
Instrumental Solo,Piano - Level 3 - SKU: A0.1500900 By Asumi Nakata. By Kouji Hayashi and Yukiko Mitsui. Arranged by Alba Calvo Hernández. 20th Century...
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Instrumental Solo,Piano - Level 3 - SKU: A0.1500900 By Asumi Nakata. By Kouji Hayashi and Yukiko Mitsui. Arranged by Alba Calvo Hernández. 20th Century,Contemporary,Film/TV,Soul. Score and individual part. 3 pages. Alba Calvo #1076927. Published by Alba Calvo (A0.1500900). LEGEND OF MERMAIND - Sara's slow version - (Piano accompaniment) for INTERMEDIATE PIANO Hello! My name is Alba and I consider myself the biggest Pichi Pichi Pitch fan since I was a little kid, like many others my age. I've always been obsessed with Sara's version of Legend of Mermaind. It's such a beautiful arrangement and the way it fits the scene makes me cry every time, so I really wanted to play it, but after years of searching for the sheet music without finding anything, I decided to arrange it myself. It took me a lot of time, I'm not going to lie, since the piece is more difficult than it seems, at least for me, since I'm still relatively new to the piano. Anyway, I hope you enjoy it as much as I did :-).
$5.99
VALS FRÅN DREFVIKEN
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Lars Ek
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VALS FRÅN DREFVIKEN
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Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB
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SheetMusicPlus
Accordion,Double Bass,Guitar - SKU: A0.1068894 Composed by Lars Ek. Folk,World. Full Performance. Duration 225. Lars Ek Cosmos Music c/o Musik & Underh...
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Accordion,Double Bass,Guitar - SKU: A0.1068894 Composed by Lars Ek. Folk,World. Full Performance. Duration 225. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1921499. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068894). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
$1.99
LÄTTA FINGRAR
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Lars Ek
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LÄTTA FINGRAR
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Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB
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SheetMusicPlus
Accordion,Double Bass,Guitar - SKU: A0.1068893 Composed by Lars Ek. Folk,World. Full Performance. Duration 154. Lars Ek Cosmos Music c/o Musik & Underh...
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Accordion,Double Bass,Guitar - SKU: A0.1068893 Composed by Lars Ek. Folk,World. Full Performance. Duration 154. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1921497. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068893). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
$1.99
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