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Back It Up Into Me
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Crtitères actifs :
Back It Up Into Me
Partitions à imprimer
75 partitions trouvées
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1
26
51
Back It Up Into Me
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Piano, Voix et Guitare
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INTERMÉDIAIRE
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Arnold Patton and Ron Patton
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Back It Up Into Me
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Twintastic Music
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.987364 Composed by Arnold Patton and Ron Patton. Dance,Pop,R & B. Score. 9 pages. Twintastic Music #3881637...
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Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.987364 Composed by Arnold Patton and Ron Patton. Dance,Pop,R & B. Score. 9 pages. Twintastic Music #3881637. Published by Twintastic Music (A0.987364). Piano, vocal, and guitar sheet music version of Back It Up Into Me, a Pop/R&B dance song.
$4.00
O Time! Take Me Back - piano solo
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Carrie Jacobs-Bond
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Phil Beaman
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O Time! Take Me Back - piano s
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Phil Beaman
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1172998 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. 20th Century. Score. 2 pages. Phil Beaman #773196. Publi...
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Piano Solo - Level 4 - SKU: A0.1172998 Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. 20th Century. Score. 2 pages. Phil Beaman #773196. Published by Phil Beaman (A0.1172998). O Time! Take Me Back is a piano solo arrangement of the 1916 hit pop song by Carrie Jacobs-Bond, which was originally a ballad for voice and piano. Â For the first verse I keep fairly close to the original tune but set it up as a call and response phrasing and dynamics, then repeat it for the second verse. Â For the third verse I take it up half a step and reharmonize the melody with some alterations as it moves through the keys and chords. Â There is a static modulation into the coda which is a slower version of my first ending. Â A powerful and edgy solo. Â 2 page score; 1:35 minutesThis piece is also found in my book, Carrie Jacobs-Bond, Popular Songs 1900-1925, a collection of 51 of her songs I have arranged for piano solo, which is also available on this site.
$2.25
This Angel (backing track)
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David Kai
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David Kai
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This Angel
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David Kai
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SheetMusicPlus
String Ensemble Choir,Electric Bass Guitar,Piano Accompaniment - Level 3 - SKU: A0.1105248 By David Kai. By David Kai. Arranged by David Kai. Christian,...
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String Ensemble Choir,Electric Bass Guitar,Piano Accompaniment - Level 3 - SKU: A0.1105248 By David Kai. By David Kai. Arranged by David Kai. Christian,Contemporary,Pop. Accompaniment. Duration 229. David Kai #708508. Published by David Kai (A0.1105248). This version of the song is for backing a soloist or group. This song was written to honour our front-line workers during these incredibly stressful pandemic times. It was inspired while thinking of two family members who are working in downtown hospital emergency rooms during this pandemic. This song might be used in worship services honouring our front-line workers or on subjects such as pastoral care during the pandemic, vocation or calling. THIS ANGEL Words and music by David Kai ©2021 Last night I thought I had the strangest dream An angel standing, watching over me No halo on her head, no gown of white No wings upon her back to give her flight I couldn’t see her face ‘cept for her eyes She smiled through them, and then I realized Just where I was and how it came to be This angel’s all dressed up in PPE If I could only speak I’d gladly give my thanks aloud If I could only breathe I’d tell you clearly just how proud I am of all of you who put yourselves into harm’s way And help to pull me through another day Dear angel, tell my family out there I love them very much, and I still care I’m sorry if I’ve caused them any pain God willing, I will see them all again Dear angel, say a prayer for this old soul That I might have some peace if I’m to go If I don’t make it through, tell them for me My angel all dressed up in PPE If I could only speak I’d gladly give my thanks aloud If I could only breathe I’d tell you clearly just how proud I am of all of you who put yourselves into harm’s way And help to pull me through another day Last night I thought I had the strangest dream This angel standing, watching over me.
$1.99
Nothing You Can Take From Me
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Ensemble Jazz
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INTERMÉDIAIRE/AVANCÉ
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Rachel Zegler And The Covey Ba
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Javier Soria Laso
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Nothing You Can Take From Me
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Javier Soria Laso
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 4 - SKU: A0.1349823 By Rachel Zegler And The Covey Band. By Dave Cobb and Suzanne Collins. Arranged by Javier Soria ...
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Jazz Ensemble Jazz Ensemble - Level 4 - SKU: A0.1349823 By Rachel Zegler And The Covey Band. By Dave Cobb and Suzanne Collins. Arranged by Javier Soria Laso. Broadway,Film/TV,Jazz,Musical/Show,Pop,Singer/Songwriter. 57 pages. Javier Soria Laso #934588. Published by Javier Soria Laso (A0.1349823). You've heard Nothing You Can Take From Me from the film The Hunger Games: The Ballad of Songbirds And Snakes (sung by Rachel Zegler) many times, but you'll be gladly astounded to hear this big band chart that puts a spin into it with great measure! After a maestoso rendition of the first verse by the brass section, the drums set up the tempo into a tour de force medium fast tempo tune influenced by Duke Jordan's Jordu (recorded by the Clifford Brown-Max Roach Quintet) & Bobby Timmons's Moanin' (recorded by Art Blakey's Jazz Messengers) that while retaining much of the original tune (verse, refrain & bridge) brings out a distinctive hard bop-influenced twist coupled with solos by tenor sax & drums as well as a powerful soli by the trumpet section and a shout chorus moment by the full band. This chart is perfect as a concert opener, anchorer or closer, and it's another good twist of the saying something old, something new in a refreshing way. Enjoy!This product was created by a member of ArrangeMe, Hal Leonard’s global self-publishing community of independent composers, arrangers, and songwriters. ArrangeMe allows for the publication of unique arrangements of both popular titles and original compositions from a wide variety of voices and backgrounds.About ss are downloadable sheet music files that can be viewed directly on your computer, tablet or mobile device. Once you download your digital sheet music, you can view and print it at home, school, or anywhere you want to make music, and you don’t have to be connected to the internet. Just purchase, download and play!PLEASE NOTE: Your will have a watermark at the bottom of each page that will include your name, purchase date and number of copies purchased. You are only authorized to print the number of copies that you have purchased. You may not digitally distribute or print more copies than purchased for use (i.e., you may not print or digitally distribute individual copies to friends or students).
$80.00
Jesus Loves Me - Bradley Sowash
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Piano seul
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AVANCÉ
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Musique Sacrée
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Bradley Sowash
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Bradley Sowash
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Jesus Loves Me - Bradley Sowas
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Bradley Sowash
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SheetMusicPlus
Piano - Level 5 - SKU: A0.1238983 By Bradley Sowash. By Anna Bartlett Warner. Arranged by Bradley Sowash. Christian,Contemporary,Jazz,Praise & Worship,S...
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Piano - Level 5 - SKU: A0.1238983 By Bradley Sowash. By Anna Bartlett Warner. Arranged by Bradley Sowash. Christian,Contemporary,Jazz,Praise & Worship,Sacred. Full Performance. Duration 242. Bradley Sowash #834378. Published by Bradley Sowash (A0.1238983). From Bradley Sowash’s “We Gather Together†solo piano recorded album and associated sheet music (also available here).Everyone enjoys this uplifting arrangement.Just because this tune has it roots as a Sunday school song doesn’t mean it has to sound basic in worship. This arrangement begins with a quiet slow gospel waltz that continues into a jazz waltz feel until a sudden stop when the piano sets up a funky back beat feel and the music really starts to kick. A key change near the end moves the energy up again for a really big ending.Learn more about this artist at https://bradleysowash.com.
$1.99
If You Could Go Back Piano Vocal Performance
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Pop musique
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Steven H
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Ashley Ivers
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If You Could Go Back Piano Voc
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Boothe Publishing
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SheetMusicPlus
Piano,Voice - SKU: A0.1069977 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Pop. Full Performance. Duration 184. Boothe Publishing #4633725. P...
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Piano,Voice - SKU: A0.1069977 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Pop. Full Performance. Duration 184. Boothe Publishing #4633725. Published by Boothe Publishing (A0.1069977). Most of the mistakes I made in life were between the ages of 12-16 years. Somehow I felt that I was smarter than I was. I thought that my friends were smarter than they were. I felt invincible. I made many foolish mistakes during those years. About that time, my family was preparing to move from Oregon to Utah. I remember my mother talking with me and saying that I could start over again. We would be in a new place with new people. No one would know me. I could be the person I truly wanted to be. I thought about this a lot, and when we finally made the move I had decided what kind of person I really wanted to be. In fact, I felt bad for being the wrong kind of person and hurting other people physically and spiritually. I eventually felt so bad about my mistakes that I decided that I would write or call the people I had hurt and apologize to them. Over the period of a year I was able to find, call and apologize to each of them. To my great surprise none of them were still angry with me. I was forgiven. That was a great feeling. This day will be forever what you choose. Once you leave this life you won't be able to return and right any wrongs that you have committed. So when you make a mistake, choose to make it right today so that this day, this day of good choosing will be what will last forever. Never let yourself do something that you know inside is wrong. If your friends are trying to talk you into doing something you know is wrong, don't just sit there and listen to them. Get up and leave the room, or the party, or the situation. Be true. Be the one. Be the son or daughter of God. Do what He would do.
$1.99
If You Could Go Back Guitar Vocal Performance
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Rock
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Steven H
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If You Could Go Back Guitar Vo
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Boothe Publishing
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SheetMusicPlus
Bass Guitar,Voice - SKU: A0.1069976 Composed by Steven H. Boothe. Pop,Rock. Full Performance. Duration 187. Boothe Publishing #4633723. Published by Boo...
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Bass Guitar,Voice - SKU: A0.1069976 Composed by Steven H. Boothe. Pop,Rock. Full Performance. Duration 187. Boothe Publishing #4633723. Published by Boothe Publishing (A0.1069976). Most of the mistakes I made in life were between the ages of 12-16 years. Somehow I felt that I was smarter than I was. I thought that my friends were smarter than they were. I felt invincible. I made many foolish mistakes during those years. About that time, my family was preparing to move from Oregon to Utah. I remember my mother talking with me and saying that I could start over again. We would be in a new place with new people. No one would know me. I could be the person I truly wanted to be. I thought about this a lot, and when we finally made the move I had decided what kind of person I really wanted to be. In fact, I felt bad for being the wrong kind of person and hurting other people physically and spiritually. I eventually felt so bad about my mistakes that I decided that I would write or call the people I had hurt and apologize to them. Over the period of a year I was able to find, call and apologize to each of them. To my great surprise none of them were still angry with me. I was forgiven. That was a great feeling. This day will be forever what you choose. Once you leave this life you won't be able to return and right any wrongs that you have committed. So when you make a mistake, choose to make it right today so that this day, this day of good choosing will be what will last forever. Never let yourself do something that you know inside is wrong. If your friends are trying to talk you into doing something you know is wrong, don't just sit there and listen to them. Get up and leave the room, or the party, or the situation. Be true. Be the one. Be the son or daughter of God. Do what He would do.
$1.99
If You Could Go Back Piano Minus Vocal
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Piano seul
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Rock
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Steven H
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Ashley Ivers
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If You Could Go Back Piano Min
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Boothe Publishing
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SheetMusicPlus
Piano - SKU: A0.1069959 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Pop,Rock. Accompaniment. Duration 184. Boothe Publishing #4633665. Publi...
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Piano - SKU: A0.1069959 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Pop,Rock. Accompaniment. Duration 184. Boothe Publishing #4633665. Published by Boothe Publishing (A0.1069959). Most of the mistakes I made in life were between the ages of 12-16 years. Somehow I felt that I was smarter than I was. I thought that my friends were smarter than they were. I felt invincible. I made many foolish mistakes during those years. About that time, my family was preparing to move from Oregon to Utah. I remember my mother talking with me and saying that I could start over again. We would be in a new place with new people. No one would know me. I could be the person I truly wanted to be. I thought about this a lot, and when we finally made the move I had decided what kind of person I really wanted to be. In fact, I felt bad for being the wrong kind of person and hurting other people physically and spiritually. I eventually felt so bad about my mistakes that I decided that I would write or call the people I had hurt and apologize to them. Over the period of a year I was able to find, call and apologize to each of them. To my great surprise none of them were still angry with me. I was forgiven. That was a great feeling. This day will be forever what you choose. Once you leave this life you won't be able to return and right any wrongs that you have committed. So when you make a mistake, choose to make it right today so that this day, this day of good choosing will be what will last forever. Never let yourself do something that you know inside is wrong. If your friends are trying to talk you into doing something you know is wrong, don't just sit there and listen to them. Get up and leave the room, or the party, or the situation. Be true. Be the one. Be the son or daughter of God. Do what He would do.
$1.99
Fix It Again Tony!
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Ensemble Jazz
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INTERMÉDIAIRE
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Blues
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Jazz
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Brad Esbensen
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Brad Esbensen
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Fix It Again Tony!
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Brad Esbensen Music Services
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.774335 Composed by Brad Esbensen. Arranged by Brad Esbensen. Blues,Jazz. Score and Parts. 82 pages. Brad...
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Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.774335 Composed by Brad Esbensen. Arranged by Brad Esbensen. Blues,Jazz. Score and Parts. 82 pages. Brad Esbensen Music Services #3537877. Published by Brad Esbensen Music Services (A0.774335). FIX IT AGAIN TONY! is an original composition for big band and featured as a set piece for the 2002 Australian Academy Festival of Music B Grade Jazz Ensemble division. It is a blues in F with a grooving shuffle feel. In the opening choruses, the big band is divided into three smaller combos playing the head, backing riffs and rhythmic stabs. Be sure to have the players listen carefully to each other and to be aware of which combo they belong to. Solo space is provided for the 2nd Trumpet and 1st Trombone players, although this could be opened up to feature other band members. The solo section is followed by a Sax section soli before the head returns to take the chart out. The inspiration for this title came from my first car - a 1970 FIAT 124 - which provided me with many years of enjoyable motoring. Any automotive enthusiast will get the joke in this title.www.bemus.com
$60.00
Yesterday Once More
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Piano seul
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INTERMÉDIAIRE
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The Carpenters
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Timothy Stapay
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Then
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Yesterday Once More
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Timothy Stapay
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1262310 By The Carpenters. By John Bettis and Richard Carpenter. Arranged by Timothy Stapay. Film/TV,Pop,Rock,Singer/Song...
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Piano Solo - Level 3 - SKU: A0.1262310 By The Carpenters. By John Bettis and Richard Carpenter. Arranged by Timothy Stapay. Film/TV,Pop,Rock,Singer/Songwriter,Standards. Score. 2 pages. Timothy Stapay #855346. Published by Timothy Stapay (A0.1262310). A piano solo arrangement of Yesterday Once More; made famous by The Carpenters. Yesterday Once More, written by Richard Carpenter and John Bettis, is a hit song by the Carpenters from their 1973 album Now & Then. Thematically the song concerns reminiscing about songs of a generation gone by. It segues into a long medley, consisting of eight covers of 1960s tunes incorporated into a faux oldies radio program. The work takes up the entire B-side of the album.The single version of the song peaked at number 2 on the Billboard Hot 100 chart, kept from the number 1 spot by Bad, Bad Leroy Brown by Jim Croce. It was the duo's fifth number two hit and makes them the act with the second-most number two hits on the chart behind Madonna. The song also peaked at number 1 on the easy listening chart, becoming their eighth number 1 on that chart in four years.  It is the Carpenters' biggest-selling record worldwide and their best-selling single in the UK, peaking at number 2 Richard Carpenter stated, on a Japanese documentary, that it was his favorite of all the songs that he had written. He has performed an instrumental version at concerts.Lyrics:[Verse 1]When I was young, I'd listen to the radioWaitin' for my favorite songsWhen they played, I'd sing alongIt made me smile[Pre-Chorus 1]Those were such happy timesAnd not so long agoHow I wondered where they'd goneBut they're back againJust like a long-lost friendAll the songs I loved so well[Chorus 1]Every sha-la-la-laEvery whoa, whoa-oh still shinesEvery shing-a-ling-a-lingThat they're starting to sing so fineWhen they get to the partWhere he's breaking her heartIt can really make me cryJust like before, it's yesterday once more(Shoobie-doo, lang, lang)(Shoobie-doo, lang, lang) [Verse 2]Lookin' back on how it was in years gone byAnd the good times that I hadMakes today seem rather sadSo much has changed[Pre-Chorus 2]It was songs of loveThat I would sing to themAnd I'd memorize each wordThose old melodiesStill sound so good to meAs they melt the years away[Chorus 2]Every sha-la-la-laEvery whoa, whoa-oh still shines(Only oldies, but goodies)Every shing-a-ling-a-lingThat they're starting to sing so fineAll my best memoriesCome back clearly to meSome can even make me cryJust like before, it's yesterday once more(Shoobie-doo, lang, lang) [Outro]Every sha-la-la-laEvery whoa, whoa-oh still shinesEvery shing-a-ling-a-lingThat they're starting to sing so fineEvery sha-la-la-laEvery whoa, whoa-oh still shinesEvery shing-a-ling-a-lingThat they're starting to sing so fine...
$6.99
Show-type Tune (tune For A Lyric)
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Ensemble Jazz
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INTERMÉDIAIRE/AVANCÉ
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Bill Evans
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Sarah Jane Cion
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Show-type Tune
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Safflower Music LLC
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 4 - SKU: A0.1100228 By Bill Evans. By Bill Evans. Arranged by Sarah Jane Cion. Film/TV,Jazz. Score and parts. 122 pa...
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Jazz Ensemble Jazz Ensemble - Level 4 - SKU: A0.1100228 By Bill Evans. By Bill Evans. Arranged by Sarah Jane Cion. Film/TV,Jazz. Score and parts. 122 pages. Safflower Music LLC #704104. Published by Safflower Music LLC (A0.1100228). Show Type Tune Back in 1989 I was taking an arranging course at NEC taught by George Russell (who subsequently received the Genius Grant for Lifetime Achievement). I worked on this big band arrangement for about a year. My concept was to take a Bill Evans tune and harmonize his solo for saxes within the body of the arrangement. About a week before graduation it finally came time for the class to have their work heard. I was SO excited! A big band was assembled and after a few days of classmate’s charts workshopped, George Russell fell ill, and I never got to hear my arrangement. I was devastated. It had taken me months to arrange, and hand-write the 17 parts as back then, no computers of course!So, tearfully it all went into a red folder—and eventually made its way to the bottom of a box, a box that somehow followed me throughout life. Recently concerned about doing nothing all week at family camp—I thought to myself, with my present knowledge of music notation software, why not dig up that dusty red folder and input the chart to finally hear it —32 years later? I figured if the work had any merit I could print it out and bring it to Library Band ! So. in the tiny log cabin with laptop and travel keys, I began, soon falling into what can only be described as timeless awareness—future self collaborating with inner conservatory undergrad—and dare say, I was rather impressed with her 😂 Although a few tweaks needed, the work proved nothing short of a sound effort. Tying up this life-long loose-end feels nothing short of spiritually inspired. ðŸ˜.
$49.99
Should I Stay Or Should I Go
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Ensemble Jazz
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INTERMÉDIAIRE/AVANCÉ
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Jazz
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The Clash
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Michael Pilley
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Should I Stay Or Should I Go
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Michael Pilley Music
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 4 - SKU: A0.746167 By The Clash. By Joe Strummer and Mick Jones. Arranged by Michael Pilley. Jazz. Score and parts. ...
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Jazz Ensemble Jazz Ensemble - Level 4 - SKU: A0.746167 By The Clash. By Joe Strummer and Mick Jones. Arranged by Michael Pilley. Jazz. Score and parts. 51 pages. Michael Pilley Music #3535709. Published by Michael Pilley Music (A0.746167). Written specifically for Swing Punks, the amazing London big band who play punk tunes in a jazz style, this vocal arrangement has all the bells and whistles. Starting in a bluesy swing style, see if you can pick up all the quotes as you progress through the chart. When it kicks into double time, it'll get your audiences toes tapping just enough for you to snap them back to a languid blues atmosphere. With an open solo section this chart comes alive, allowing for soloists to take the tune where they want to. Double time ensues after that, with a big ending to finish this cracking chart.THE SONGReleased in 1981, Should I Stay became The Clash's only UK number 1 single, albeit 10 years after in a reissued single. It made 228 in Rolling Stones Top 500 and features Spanish backing vocals, in a strange twist.THE BANDSwing Punks (www.swingpunks.com) are an exciting big band based in London, UK who take the best punk music and turn it into swinging big band music. Featuring 3 vocalists and a full complement of horns, their shows are full of energy and pizzazz. I've been lucky enough to play with them a few times since moving closer to London, and I always enjoy mixing it up with such great musicians.PRINTING TIPSBeautifully laid out, the score and parts are easy to read and available NOW for digital download. We suggest you print on 80gsm paper, to ensure that the copies last longer in your bands library. More music can be found at www.michaelpilleymusic.com and follow me at https://www.facebook.com/MichaelPilleyMusic/ or https://twitter.com/MPilleyMusic
$50.00
Suite Revelation for cello and piano
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Violoncelle, Piano
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Robert M
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Suite Revelation for cello and
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Robert M. Greenberg
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SheetMusicPlus
Cello,Instrumental Solo,Piano - Level 4 - SKU: A0.987858 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and individual part. 32 pages...
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Cello,Instrumental Solo,Piano - Level 4 - SKU: A0.987858 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and individual part. 32 pages. Robert M. Greenberg #115605. Published by Robert M. Greenberg (A0.987858). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Video: https://mail.google.com/mail/?tab=wm#inbox/14f3cea616cb0a88?projector=1 Duration: ca. 12 minutes Year of composition: 2014 Program Note: I. Overture II. Nigun no. 9 III. Molad’ti IV. Gilu Hagalilim V. Y’mey Hanoar VI. The Gigue Is Up My apologies upfront for all the first person pronouns in this program note! A few years back, Nina Flyer asked me to write for her a piece of music that would contain or make reference to Jewish/Yiddish/Hebrew dance music and/or folk songs. The more I thought about it, the more difficult I realized the challenge would be. As best as I could tell, I had three options. Option one: I could set said dance music/songs for cello and piano, with the result being a series of arrangements: nice, but artlessly unoriginal (meaning dull). Option two: I could weave the tunes into a single narrative and in doing so write another version of Schlomo (a self-proclaimed Hebraic work for cello and orchestra by Ernst Bloch). Option three: I could make up my own ethnic-sounding melodies and either arrange them for cello and piano or weave them into some sort of Hebraic narrative: options one and two all over again. So I came up with option four. I selected four folk tunes (movements II, III, IV, and V) and composed a counter-melody to each. The first half of movements II, III, IV, and V set that counter-melody without any reference to the original folk tune. The second half of those movements then combines the counter-melody with the original tune (and thus the revelation, as the original tune is revealed). The generally two-part shape described above (excepting movement IV, which is A-B-A in structure) suggested Baroque binary dance form, and so I turned the piece into a sort of Baroque dance suite. It begins with a French Overture based on the counter-melodies of movement III and V, and concludes with a gigue based on the counter melodies of movements II and IV. The historical references are supposed to be tongue-in-cheek and I can only hope they will be taken that way. A thousand-and-one thanks to Nina Flyer and Lori Lack for their patience, hard work, and musical brilliance. Suite Revelation is dedicated – with the greatest respect and affection – to Nina Flyer.
$28.00
Haiku by The Khromatiks, for Electric Violin & Loop Station
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Kayleigh Moyer, Kyle Pudenz, a
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improvised
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Haiku by The Khromatiks, for E
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ViolinVagabond Music
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SheetMusicPlus
Electric Violin,Instrumental Solo - Level 4 - SKU: A0.845981 Composed by Kayleigh Moyer, Kyle Pudenz, and The Khromatiks. 20th Century,Contemporary,Jazz...
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Electric Violin,Instrumental Solo - Level 4 - SKU: A0.845981 Composed by Kayleigh Moyer, Kyle Pudenz, and The Khromatiks. 20th Century,Contemporary,Jazz,New Age. Individual part. 8 pages. ViolinVagabond Music #6017039. Published by ViolinVagabond Music (A0.845981). This is a loop station composition for electric violin that I composed for my live-looping duo, The Khromatiks, in 2014. Doing my part to increase the available repertoire for extended range violins out here on the internet!I originally recorded this tune on a 7-string electric violin with a Boomerang III loop station. That being said, there are plenty of other gear configurations that will work. Any phrase looper/sampler that is capable of playing 3 separate tracks or sections with overdubs will be able to handle this structure, such as the Singular Sound Aeros, Ableton Live with a MIDI controller, etc. If you don't play 7-string, a 5-string can also play this chart as written if you use an octave pedal to record the low bass lines. A standard 4-string can also work, although some phrases will have to be transposed 8va.A little about this tune: a Haiku is characterized by a pattern of 5-7-5 syllables, and in this piece that refers to the meters used in each of the overarching sections. The ambient intro in 5/8 involves a quartal ostinato with long sweeping volume swells, which then develops into a pizzicato groove in 7/8. This groove forms the basis for the majority of the tune, as melodies & improvised solos drift in and out over an A and B section loop. On the final B section, the loop drops out and the violinist builds up into a more distorted strum bowing groove (which accompanies a drum solo on the original recording). As the intensity builds, the 7/8 groove is shortened back into 5/8, thus completing the Haiku. The piece ends with a restatement of the original ostinato as it fades into silence using an automated volume fade on the looper pedal.With The Khromatiks this piece was performed as a duo with violin & drums/percussion, but also works as a violin solo. If you have a looper capable of syncing to a click track, you could also try adding bass or guitar/keyboards (players can read the chord symbols on the chart as a lead-sheet). The sky is the limit, feel free to get creative with it!Please, if you have questions or suggestions, feel free to contact me via my website, www.kylepudenz.com/, or on Instagram @theviolinvagabond
$7.99
Who You Say I Am
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Musique Sacrée
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Ben Fielding and Reuben Morgan
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Kyle Pudenz
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Who You Say I Am
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ViolinVagabond Music
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.845992 Composed by Ben Fielding and Reuben Morgan. Arranged by Kyle Pudenz. Contemp...
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.845992 Composed by Ben Fielding and Reuben Morgan. Arranged by Kyle Pudenz. Contemporary,Easter,Praise & Worship,Sacred. Score and parts. 19 pages. ViolinVagabond Music #6696601. Published by ViolinVagabond Music (A0.845992). This is a gig or church service-ready arrangement of Hillsong's Who You Say I Am for string quartet. A great addition to your gig book for weddings or your musical catalog for worship/church bands that feature strings. Included with the quartet score & parts is a slash/chord lead sheet if you wish to perform this with along with guitar, piano or full band.The form follows Hillsong's live version all the way through Chorus 3. It does not include the recap/vamp of the bridge and 4th chorus, but you can loop back on the chart from letter G to letter E if your performance requires a longer rendition. I have also taken the liberty of transposing this from the original key of F# (...oof) into the much more string & band-friendly key of G (and your purchase is all the thanks I need). I've added a few small flourishes, dynamic drops, and general instrumental interest throughout this arrangement, but would still describe this chart as sight-readable for professional players with experience playing pop/rock tunes. It's also well within the technical capability of high school or recreational ensembles with just a bit of practice, but if your violist hasn't ever seen a ghost note printed on a chart before, I would highly recommend taking 10 minutes to look it up...Performance time - approximately 3:20 straight through, longer if you loop back to the bridge like Hillsong Worship's live version. Lots of other exit/entry points can be easily incorporated at most of the rehearsal marks.Questions? Feel free to contact me via my website, www.kylepudenz.com/ or on the 'Insta @theviolinvagabond.
$14.99
Covid Suite - A Year in Review
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Ensemble de Flûtes
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INTERMÉDIAIRE
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Contemporain
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R H Baptiste
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Covid Suite - A Year in Review
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Ron Baptiste
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SheetMusicPlus
Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo,Soprano Flute - Level 3 - SKU: A0.1367219 Composed by R H Baptiste. 21st Century,Classical,C...
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Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo,Soprano Flute - Level 3 - SKU: A0.1367219 Composed by R H Baptiste. 21st Century,Classical,Contemporary. 75 pages. Ron Baptiste #951576. Published by Ron Baptiste (A0.1367219). This is a rather long piece (about 22 minutes) - but quite amenable to breaking it up any number of ways (by month, quarter, etc). I wrote this over the course of the Covid shutdown, when we were pretty much housebound for long periods. It's divided into 12 sections, one for each month, beginning in March 2020 - when we here in Canada first found out about the approaching pandemic. I tried to represent each month as it affected me - some sadder, some a bit more optimistic. I especially like December - mostly sad, with a brief reprieve for Christmas, then back to sad. In this neck of the woods, Christmas was all but cancelled as we were pretty much in lockdown; at the last minute, restrictions were eased to allow small gatherings for the Holiday. Overall, it was a sad, lonely year - especially for musicians! Whatever your personal stance on the pandemic, it certainly affected us all - and resulted in the loss of many lives.
$4.99
Windy
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Orchestre d'harmonie
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FACILE
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Rock
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The Association
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John R
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Windy
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John R. Daniels
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.504018 By The Association. By Ruthann Friedman. Arranged by John R. Daniels. Pop,Rock. Score and parts. 35 pages. John ...
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Concert Band - Level 2 - SKU: A0.504018 By The Association. By Ruthann Friedman. Arranged by John R. Daniels. Pop,Rock. Score and parts. 35 pages. John R. Daniels #115992. Published by John R. Daniels (A0.504018). This arrangement of Windy is simple and fun, just like the girl described in the song. It opens with a tuba and woodblock duet and then skips along happily through a couple meter changes and ends delightfully in two parts. In some ways, this is a relatively simple song. In other ways, it’s tricky. At one place, the melody is tossed around, being played by most instruments within 8 measures. Then, it morphs into 6/8 time for just a few delightful measures before going back to 4/4 for the grand wind-up. IMPORTANT NOTE: The Cover Pages and Conductor's Score are 8.5 x 14. They will need to be printed on appropriate sized paper. IF YOU WOULD LIKE YOUR ENSEMBLE TO GAIN MORE MEDIA EXPOSURE, please record your performance of this piece and email it to CustomMusic@Salt-Cellar-Creations.com. It will be included in my social media postings and website samples with any contact info you may want to provide. If you need help with recording technique or email transfer, etc. please contact me. For more information about the composer / arranger and other services, go to www.Salt-Cellar-Creations.com.
$49.99
Requiem
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Orchestre de chambre
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es war...
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
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
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The Story Of Reuben Clamzo &am
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Edition Craig Hanson
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SheetMusicPlus
Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edi...
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Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
Viaje al Atardeser
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Orchestre d'harmonie
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Latin/Musique du monde
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Sir Lunch
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Viaje al Atardeser
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Sir Lunch
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SheetMusicPlus
Concert Band - SKU: A0.1024253 Composed by Sir Lunch. Latin. Score and parts. 76 pages. Sir Lunch #2917889. Published by Sir Lunch (A0.1024253). ...
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Concert Band - SKU: A0.1024253 Composed by Sir Lunch. Latin. Score and parts. 76 pages. Sir Lunch #2917889. Published by Sir Lunch (A0.1024253). Some years ago, I saw a video of an orangutang sort of running about with some latin music and it was labled Salsa Time and I knew that someday I would write a piece with that title. Well, once it was finished, and I listened and meditated over what it said to me, what I heard was the westward migration of the early settlers of America, only in and through Mexico. Journey To The Setting Sun became my title, but to give it a bit more authenticity, the title is in Spanish, and has become Viaje al Atardeser.The piece opens with a train whistle. If you have none, the Flute 1 & 2 parts have it simulated. Rehearsal markers 1A through 1D serve as layers that lead to the main melody starting at A. At letter B, the Solo 1st trumpet takes on the melody with a slight variation of rhythm. There is a trombone trio from C to D. If you have 3 stong trombonists, I recommend the Eupf and Baritone TC opt out of playing through this section, in order to highlight your great trombone section. *Optional* You may, at your discretion put a fermata after the first beat of the bar before D and allow your solo trumpeter to play a free form cadenza. The mp3 has a sample of how this would sound. The cadenza would end with the pick-up to letter D and you may feel free to let that high note of the solo trumpet ring for a second or two before cuing the rest of the band in. Although from D to the a tempo 4 bars before E is a trumpet solo, the most crucial part of that section is the tambourine part going into double time, creating that extra pop and sense of urgency.This piece represents a watershed moment in my life, as it is my first composition for Concert Band.I encourage all feedback at sirlunch@gmail.comI hope you enjoy it!
$60.00
Piano Trio No. 1 "Poets and Prophets" (piano score - pno, vln, cel)
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Mark O'Connor
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Piano Trio No. 1 "Poets a
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Mark O'Connor Musik International
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SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - SKU: A0.861898 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 55 pages. Mark O'Conno...
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Piano Trio,String Ensemble - Level 5 - SKU: A0.861898 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 55 pages. Mark O'Connor Musik International #6206157. Published by Mark O'Connor Musik International (A0.861898). Piano Trio No. 1 Poets and Prophets (piano score – piano, vln, cel) MO160APiano Score (parts available)Music by Mark O’Connor51 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO160A
$22.50
Piano Trio No. 1 "Poets and Prophets" (violin part - pno, vln, cel)
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Mark O'Connor
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Piano Trio No. 1 "Poets a
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Mark O'Connor Musik International
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SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - SKU: A0.861899 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 23 pages. Mark O'Conno...
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Piano Trio,String Ensemble - Level 5 - SKU: A0.861899 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 23 pages. Mark O'Connor Musik International #6206159. Published by Mark O'Connor Musik International (A0.861899). Piano Trio No. 1 Poets and Prophets (violin part – piano, vln, cel) MO160BViolin Part (score and parts available)Music by Mark O’Connor20 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO160.
$15.00
Piano Trio No. 1 "Poets and Prophets" (cello part - pno, vln, cel)
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Mark O'Connor
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Piano Trio No. 1 "Poets a
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Mark O'Connor Musik International
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SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - SKU: A0.861901 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 21 pages. Mark O'Conno...
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Piano Trio,String Ensemble - Level 5 - SKU: A0.861901 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 21 pages. Mark O'Connor Musik International #6206161. Published by Mark O'Connor Musik International (A0.861901). Piano Trio No. 1 Poets and Prophets (cello part – piano, vln, cel) MO160CCello Part (score and parts available)Music by Mark O’Connor18 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number.
$15.00
EVERYTHING LIKE BEFORE
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Piano seul
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Contemporain
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Monica Bergo
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EVERYTHING LIKE BEFORE
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Moni Bergo
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SheetMusicPlus
Piano Solo - SKU: A0.1012713 Composed by Monica Bergo. Contemporary. Score. 10 pages. Moni Bergo #5742995. Published by Moni Bergo (A0.1012713). ...
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Piano Solo - SKU: A0.1012713 Composed by Monica Bergo. Contemporary. Score. 10 pages. Moni Bergo #5742995. Published by Moni Bergo (A0.1012713). Music and song composed by me ALL AS BEFORE Tired flower bends the head photos in carved marble sad smell of the past along your tree-lined avenue how much peace in this place where you stand hidden cobwebs on your time and the scent of regret while I touch your beautiful face I ask myself who decided that your time would stop and that for you all would be over I, minstrel of my time, tell a thousand stories chronicles written in pencil real-life stories story now finished my fingers still drive, find notes and then the enchantment to disperse them in the wind there was a king in love, by a bewitched spell, with the madwoman his queen and everything comes back as before there tucked away in a corner There is a pathetic clown Look closer: it’s a little girl and everything comes back as before You clown what would you do? You want to approach the king and then you want to tell him of her polluted heart but him, he does not want to be touched and you have to amuse her smile and do not tire continue your ... dance ... in the void and silence suspended in time for your queen and everything comes back as before before your leap do you want to fly high mixed-up Icarus you have fallen into emptiness the beating of the heart makes too much noise rumbles here within into emptiness and silence no, do not love me, now or ever and hang on till the ultimate pain she'll pressure you and insinuate herself into your mind and end by doing you harm but I invisible to your eyes and I want to hug you, you do not want I would like to tell you what you do not know of me and then on swings of fantasy my hand close to yours we'll soar to the heights where she is not there if you want I will reinvent myself for you And I may please you ,I know but with your eyes you’ve already answered me and hidden I'll go .. The winter does not end the cold seems eternal here the sun dies ,effaces itself and then disappears Once upon a time there was or still is, who knows a minstrel that no longer has a court and he belongs to nobody, and no one will stop him while closing the door ,the king will delete him abracadabra here in my Kingdom nothing caresses, no kiss of goodby my name in history was written in pencil to be able to delete from a faded page the mind has its woodworm and you can not heal it past, present and she who reigns everywhere pages of your life flowing through my fingers for a king, tired and sick, who has not had a happy ending the spell is broken and now the veil has fallen regret makes its way into him and the minstrel would approach him puppet in love ,now disconnected from your wires seek your child and there is nothing like before there is the sunset in your eyes but I'm here by your side a daddy and his little girl and there is nothing like before .... ..... the be.
$5.00
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Back It Up Into Me