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9835
PIANO & CLAVIERS
Piano seul
7686
Piano, Voix
6560
Piano, Voix et Guitare
5078
Piano Facile
3031
Instruments en Do
1118
Orgue
798
Piano grosses notes
493
1 Piano, 4 mains
228
Accompagnement Piano
150
Piano (partie séparée)
139
Accordéon
108
Piano Trio: piano, violon, violoncelle
75
2 Pianos, 4 mains
42
Piano Quatuor: piano, violon, alto, violoncelle
33
Piano Quatuor: piano, 2 violons, violoncelle
21
Piano Quintette: piano, 2 violons, alto, violoncelle
19
Clavier
14
Orgue, Piano (duo)
10
Ligne De Mélodie, Piano
8
1 Piano, 6 mains
7
Orgue, Trompette (duo)
4
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4
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3
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1
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Ligne De Mélodie, (Paroles) et Accords
2919
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2562
Guitare
679
Ukulele
514
Paroles et Accords
339
Basse electrique
289
Piano, Guitare (duo)
142
Guitare (partie séparée)
139
2 Guitares (duo)
53
Basse électrique (partie séparée)
33
Dulcimer
32
Banjo
32
Mandoline
26
4 Guitares (Quatuor)
16
Ensemble de guitares
8
Ukulele Baryton
6
3 Guitares (trio)
5
Mandoline, Guitare (duo)
3
2 Dulcimers (duo)
2
2 Mandolines (duo)
2
Guitare, Flûte, Clarinette
2
Partitions De Groupes
2
Guitare, Orchestre
1
2 Ukuleles
1
Dobro
1
Guitare Pedal Steel
1
Cithare
1
Ensemble de Ukulélés
1
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VOIX
Chorale SATB
3106
Chorale 3 parties
1359
Chorale 2 parties
809
Chorale TTBB
765
Chorale SSAA
418
Chorale Unison
336
Voix duo, Piano
224
Chorale
165
Voix seule
132
Voix haute
85
Voix duo
78
Voix Soprano, Piano
68
Voix Tenor
22
Voix Tenor, Piano
17
Voix basse, Piano
15
Voix Alto, Piano
14
Voix moyenne, Piano
13
Chorale SSATB
10
Chorale SSAB a cappella
9
Voix Mezzo-Soprano, Piano
8
Voix, Guitare
6
Voix Baryton, Piano
6
Chorale SSATTB
4
Chorale SSAATTBB
4
Voix Soprano
4
Voix basse
4
Chorale SSAB, Piano
3
Chorale SATBB
2
Chorale SSAATB
2
Chorale SAATB A Cappella
1
Chorale SSATBB
1
Voix Baryton
1
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VENTS
Saxophone (partie séparée)
1167
Clarinette
857
Flûte traversière
831
Flûte traversière et Piano
826
Quatuor de Saxophones: 4 saxophones
744
2 Saxophones (duo)
684
Saxophone Alto
623
Hautbois, Piano (duo)
608
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
604
Clarinette et Piano
499
Saxophone Alto et Piano
490
Flûte, Hautbois, Clarinette, Basson
451
Saxophone Tenor et Piano
420
Saxophone
337
2 Flûtes traversières (duo)
333
2 Clarinettes (duo)
321
Quatuor de Clarinettes: 4 clarinettes
291
Quintette de Saxophone: 5 saxophones
280
Clarinette (partie séparée)
267
Hautbois (partie séparée)
263
Saxophone Tenor
245
Saxophone Soprano et Piano
214
Saxophone, Clarinette (duo)
191
Clarinette, Violon (duo)
159
Flûte, Clarinette (duo)
150
Quatuor de Flûtes : 4 flûtes
142
Flute (partie séparée)
131
Saxophone Baryton, Piano
129
3 Saxophones (trio)
123
2 Hautbois (duo)
121
Ensemble de Clarinettes
108
Hautbois, Basson (duo)
107
Hautbois
107
Ensemble de Flûtes
100
Flûte à Bec
99
Flûte, Violon
99
Clarinette, Trompette (duo)
98
Saxophone Soprano
98
Hautbois, Clarinette (duo)
92
3 Clarinettes (trio)
88
Hautbois, Flûte
74
Clarinette et Alto
73
Trio de Flûtes: 3 flûtes
67
Flûte à bec Soprano
65
Quintette de Clarinettes: 5 clarinettes
64
Ensemble de saxophones
63
Flûte, Trompette (duo)
63
Cor anglais, Piano
61
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60
Flûte et Guitare
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55
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Clarinette, Basson (duo)
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Saxophone Baryton
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2 Flûte à bec (duo)
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Flûte, Violoncelle
35
Clarinette, Violoncelle (duo)
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2 Flûtes traversières, Piano
33
Cor Anglais
33
Quintette de Flûte : 5 flûtes
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Hautbois, violon (duo)
29
Flûte, Hautbois, Clarinette (trio)
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Clarinette Basse, Piano
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Hautbois, Violoncelle
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Quatuor de Flûtes à bec
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22
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Harmonica
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19
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15
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13
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Flûte à bec Alto
12
Hautbois et alto (duo)
12
Flûte, Clarinette, Violon (trio)
11
Flûte, Clarinette, Cor, Basson (Quartet)
11
Hautbois, Guitare (duo)
10
Flûte, Trombone (duo)
10
2 Saxophones, Piano
9
Flûte, Clarinette, Piano (trio)
9
Flûte à bec Alto, Piano
9
Saxophone, Violon (duo)
9
Flûte, Hautbois, Violon
9
Ocarina
9
Clarinette Basse
9
3 Hautbois
9
Flûte, Violon et Violoncelle
8
Saxophone et Guitare
8
Flûte irlandaise
8
Flûte, Harpe et Violoncelle
8
Flûte, Violoncelle, Piano (trio)
8
Flûte à bec Tenor
7
Cor anglais, Guitare (duo)
7
3 Flûtes à bec (trio)
7
5 Flûtes à bec
7
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
7
Flute, harpe et violon
7
Clarinette, Trombone (duo)
5
Flûte, Tuba (duo)
5
Piccolo
5
2 Clarinettes, Piano
5
Flûte, Violon, Violoncelle et Piano
5
Hautbois, trombone (duo)
5
Saxophone et Piano
4
Clarinette, Violoncelle, Piano (trio)
4
Ensemble à vent
4
Flûte à bec Soprano, Piano
3
Flûte, Hautbois, Piano (trio)
3
Flûte, trombone et piano
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Flûte et Trio à cordes
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Saxophone et Harpe
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Hautbois, Violon, Piano
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Piccolo, Piano
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Clarinette, Tuba
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2 Clarinettes, Basson
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Hautbois, Clarinette et Piano (Trio)
2
Flûte, Violon, Guitare
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Flûte à Bec, Piano
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Cor anglais et Harpe (duo)
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Clarinette, Contrebasse (duo)
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Clarinette, Saxophone, Piano
2
Ensemble De Flûte à bec
2
Hautbois, Harpe
2
Hautbois, Basson et Piano
2
Flûte, Alto et Piano
2
4 Hautbois
2
Flûte à bec, Harpe
1
Clarinette, trompette et piano
1
Ensemble de Hautbois
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Cornemuse
1
Saxophone et violoncelle
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Flûte, Violoncelle, Guitare
1
Clarinette, Alto et Piano (trio)
1
Flûte et Quatuor à Cordes
1
Saxophone, Basson (duo)
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Flûte traversière, Basse continue
1
2 Flûtes traversières, Harpe
1
Clarinette, Basson, Piano (trio)
1
Saxophone et Orgue
1
Hautbois, Violoncelle et Piano
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CUIVRES
Trompette
772
Trompette (partie séparée)
654
Trombone
638
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
612
Trombone (partie séparée)
512
Trombone et Piano
463
Trompette, Piano
457
Cor
378
Cor et Piano
275
Quatuor de Cuivres : 2 trompettes, trombone, tuba
241
Tuba
177
2 Trombones (duo)
171
2 Trompettes (duo)
170
Quatuor de Cuivres
163
Cor (partie séparée)
159
Quatuor de Cuivres: 2 trompettes, Cor, trombone
144
Trompette, Saxophone (duo)
141
Tuba et Piano
131
Trompette, Trombone (duo)
117
Tuba (partie séparée)
90
2 Cors (duo)
75
Euphonium
66
Cor anglais, Piano
61
Euphonium, Piano (duo)
60
Quatuor de cuivres: 4 trombones
54
Bass Clef Instruments
50
Instruments en Sib
40
Quatuor de cuivres: 4 cors
34
Trompette, Cor (duo)
33
Cor Anglais
33
2 Tubas (duo)
32
2 Euphoniums et 2 Tubas
26
3 Trombones (trio)
24
Trio de Cuivres
19
Ensemble de Cors
18
Tuba et Orgue
17
Ensemble de Trombones
14
Trompette, violon (duo)
12
Trompette, Basson (duo)
11
Cor, Violoncelle (duo)
11
Quatuor de cuivres: 4 trompettes
11
Ensemble de Trompettes
10
Tuba ou Euphonium ou Saxhorn
10
Trompette, Violoncelle (duo)
8
Trompette, Tuba (duo)
8
Trombone, Tuba (duo)
7
Cor anglais, Guitare (duo)
7
Quatuor de cuivres: 2 trompettes, 2 trombones
6
Trompette, Trombone, Piano
5
Euphonium, Tuba (duo)
5
Trombone, Violon (duo)
5
3 Cors (trio)
4
3 Trompettes (trio)
4
G Instruments
4
Instruments en Fa
4
2 Trompettes, Clavier (piano ou orgue)
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Trombone basse et Piano
3
Trombone basse
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Cor, Tuba (duo)
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Clarinette, Cor (duo)
2
Cor, Trompette, Trombone (trio)
2
3 Tubas (trio)
2
Cor anglais et Harpe (duo)
2
Cor et Basson (duo)
2
Trombone, Orgue
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2 Euphoniums (duo)
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Trombone, Cor (duo)
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Cor et Harpe
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Cor, Violoncelle et Piano
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Trompette, Violoncelle et Piano
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Trompette et Guitare
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2 Cors, Piano
1
Ensemble de Tubas
1
Bugle
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Trompette, Harpe
1
2 Trombones, Piano
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4 Tubas
1
Trombone, Alto (duo)
1
3 Euphoniums
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
1764
Violon
976
Violon et Piano
962
Violoncelle, Piano
703
Alto, Piano
647
Alto seul
527
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456
Violoncelle (partie séparée)
417
Violoncelle
341
Harpe
318
Trio à Cordes: violon, alto, violoncelle
305
2 Violons (duo)
300
Violon (partie séparée)
233
Quintette à cordes: 2 violons, alto, violoncelle, basse
223
Contrebasse (partie séparée)
211
2 Violoncelles (duo)
207
Violon, Alto (duo)
207
2 Altos (duo)
165
Alto (partie séparée)
163
Contre Basse
159
Contrebasse, Piano (duo)
150
Trio à Cordes: 2 violons, violoncelle
102
Alto, Violoncelle (duo)
74
Piano Trio: Violon, Alto, Piano
40
2 Harpes (duo)
36
4 Violoncelles
35
Violon, Guitare (duo)
34
2 Contrebasses (duo)
27
Violon, Basson (duo)
22
Violoncelle , Guitare (duo)
21
Trio à Cordes: 3 violoncelles
20
Quatuor à cordes: 4 violons
19
Harpe, Flûte (duo)
19
Trio à cordes: 3 violins
18
Quintette à cordes: 2 violons, 2 altos, violoncelle
16
Alto et Basson
15
Violoncelle, Contrebasse (duo)
15
Harpe, Violon (duo)
12
Harpe, Voix
11
Trio à Cordes: 2 violons, alto
11
Quatuor à cordes : 4 altos
11
Trio à cordes
10
Quintette à cordes : 2 violons, alto et 2 violoncelles
10
Harpe, Violoncelle (duo)
10
Alto, Guitare (duo)
6
2 Violons, Piano
6
Trio à cordes: 3 altos
5
Violon, Clarinette, Piano (trio)
5
Harpe (partie séparée)
4
Violon, Tuba (duo)
4
Harpe et Piano
4
Ensemble de Violons
4
Ensemble de Violoncelles
3
Alto et Harpe
3
Harpe, Violon, Violoncelle
3
Flûte, Contrebasse (duo)
2
Violoncelle, Orchestre
2
Harpe, Trombone (duo)
1
4 Contrebasses
1
3 Contrebasses
1
Violoncelle, Orgue
1
Ensemble d'Altos
1
Alto, Orgue
1
2 Violoncelles, Piano
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
3483
Orchestre
975
Orchestre à Cordes
801
Ensemble Jazz
612
Fanfare
402
Ensemble de cuivres
329
Cloches
299
Percussion (partie séparée)
258
Batterie
243
Batterie (partie séparée)
192
Orchestre de chambre
152
Jazz combo
146
Ensemble de Percussions
74
Caisse Claire
53
Percussion
44
Marimba
37
Vibraphone
22
Xylophone, Piano
16
Xylophone
12
Timbales (partie séparée)
11
Timbales
7
2 Xylophones
6
Ensemble d'École
6
Instrumentation Flexible
5
Vibraphone (partie séparée)
4
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
Quintette à Vent
3
Quintette de Cuivres: autres combinaisons
3
Xylophone ou Marimba ou Vibraphone
2
Orchestre, Violon
1
Piano et Orchestre
1
Quatuor à Vent : 4 instruments à vents
1
Big band
1
Xylophone (partie séparée)
1
2 Marimbas
1
Bodhran
1
Voix et Orchestre
1
Vibraphone et Marimba
1
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AUTRES
Théorie de la musique
1
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9976
Irish National Anthem (Unofficial) for String Orchestra
Orchestre à Cordes
String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Ke…
(+)
String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Keith Terrett. 20th Century, European, Patriotic. Score, Set of Parts. 10 pages. Published by Music for all Occasions
Londonderry Air arranged for String Orchestra.<br> <br> A big band version of the song is used as the theme for The Danny Thomas Show (a.k.a. Make Room For Daddy).<br> <br> "Danny Boy" was used to represent Northern Ireland at the start of the London 2012 Olympics opening ceremony, sung by a choir of children on the Giant’s Causeway.<br> <br> On November 25, 2014, the Vancouver Canucks used the song in honor of the recently deceased Pat Quinn, who played and worked in many executive capacities for the team.<br> <br> There are various theories as to the true meaning of "Danny Boy". Some listeners have interpreted the song to be a message from a parent to a son going off to war or leaving as part of the Irish diaspora.<br> <br> The 1918 version of the sheet music included alternative lyrics ("Eily Dear"), with the instructions that "when sung by a man, the words in italic should be used; the song then becomes "Eily Dear", so that "Danny Boy" is only to be sung by a lady". In spite of this, it is unclear whether this was Weatherly’s intent.<br> <br> Why the name Londonderry Air? Londonderry and Derry refer to the same place, a city in the north of Ireland, and also to the surrounding county. Supposedly the city of Derry was founded by St. Colmcille, although archaeological evidence shows that people were living there thousands of years earlier. There is an excellent museum in the city, which is worth a visit if you want to find out more. The name of the city was actually "Doire", corrupted to "Derry" by people who can’t pronounce Irish. It thought to derive from an Irish root meaning "oak tree".<br> <br> Moving quickly along in history, about a millenium later the government of England was having a difficult time colonizing Ireland because of the fierce and warlike clans living there, especially in the north of the country, Ulster. The monarchs of England, almost all of whom were notorious cheapskates, were continually looking about for ingenious ways to conquer places without actually having to put up the money themselves, or run the risk of unpopularity if they lost. In the case of Ireland, some of these schemes of the "Brish gummit" (as it is termed nowadays in Ulster) are still producing unfortunate long-term consequences.<br> <br> In 1608, King James I gave the city of Derry to the City of London corporation. I guess the deal could be summed up by saying that if the City of London could figure out a way to chase all the inhabitants out of Derry, they would be allowed to keep the loot, minus a percentage for the King of course. If they lost, well too bad. In celebration of this historic agreement, the name of Derry was officially changed to Londonderry. (For further information, check out the Northern Ireland Tourist Board’s History of Derry.)<br> <br> The linguistic outcome of all this today is that, if you think that King James’s deal with the City of London was a good idea, you call both the city and county "Londonderry". If you do, you are probably a supporter of the Unionist movement that seeks to keep Ulster a part of the United Kingdom. If you think it was a bad idea, you call both "Derry", and you are probably a supporter of the Irish Nationalist cause. Or you might just be someone who thinks it’s confusing for kings to be going around changing the names of places all the time for no good reason.<br> <br> You can find plenty of discussion about the political side of the question elsewhere, but here let’s look at the musical side. We have an air, collected in county Derry/Londonderry, and it doesn’t have a title. What do we call it?<br> <br> If you were a proper Victorian, there’s no way you were going to call it the Londonderry Air, much less the Derry Air, because of the improper sentiments that these titles might suggest. My parents tell me that in their youth in Australia, it was usually called the Air from County Derry. (This would, I suppose, support Winston Churchill’s theory that Australia was inhabited by "convicts and Irishmen".)<br> <br> My mother also sends the following information, referring to an arrangement of the tune by the Australian composer Percy Grainger:<br> <br> Just another note about Danny Boy, that I grew up in Australia believing to be the Air from County Derry. We were looking through some LP’s last night (back to vinyl yet!) and found a Mercury Wing Classical Favorites stereo LP SRW18060, COUNTRY GARDENS and other favorites by Percy Grainger {played by} Eastman-Rochester Pops, Frederick Fennell, conducting. The cover notes included the following: "Irish Tune from County Derry was harmonised in memory of Irish childhood friends in Australia." Considered by many to be Grainger’s masterpiece of harmonization, the tune was collected many years ago by Miss Jane Ross of New Town, Limavady, Ireland. Grainger has set it for many instrumental combinations. So there’s another variant on the name for it. It doesn’t say who wrote the notes, but the bits in quotes for each of the works on the record are Grainger’s original comments.<br> <br> The references to Londonderry Air that I’ve seen don’t go back any earlier than the late 1930s. For example, the Glenn Miller Orchestra recorded Danny Boy (Londonderry Air) in February 1940. Bing Crosby’s version was recorded in July 1941 (reference). (So many different things I could check up on!) Londonderry was an important American naval base during WWII, but the US hadn’t come into the war in 1940.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com<br> <br> Contact Publisher Related Scores
$8.99
8.3 €
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Orchestre à Cordes
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trad
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Keith Terrett
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Irish National Anthem
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Music for all Occasions
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SheetMusicPlus
The Story Of Reuben Clamzo & His Strange Daughter
Chorale TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…
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Choral Choir (TTBB) - Level 2 - Digital Download 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
3.68 €
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Chorale TTBB
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo & His Strange Daughter
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Edition Craig Hanson
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SheetMusicPlus
WAYFARING STRANGER (Poor Wayfaring Stranger)
Chorale TTBB
Choral Choir (TTBB) - Level 1 - Digital Download SKU: A0.522333 Composed by Unknown…
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Choral Choir (TTBB) - Level 1 - Digital Download SKU: A0.522333 Composed by Unknown - traditional. Arranged by Paul A. Jorg. Christian,Spiritual,Traditional. Octavo. 4 pages. Paul A. Jorg #5869331. Published by Paul A. Jorg (A0.522333). This song is public domain, written in the 1850's, during a time - pre-civil war - when the nation was being torn apart. The writer calms his anxiety by holding on to God's promises. Here are some lyric notes: I am a poor, wayfaring stranger - Wayfaring: traveling especially on foot; peripatetic country preachers; a poor wayfaring stranger. Wandering through this world of woe - Matthew 18:7: Woe to the world because of the things that cause people to sin! Such things must come, but woe to the man through whom they come! And there's no sickness, toil or danger - John 11:4: When he heard this, Jesus said, This sickness will not end in death. No, it is for God's glory so that God's Son may be glorified through it. Ecclesiastes 2:18-19: I hated all the things I had toiled for under the sun, because I must leave them to the one who comes after me. Acts 14:22: strengthening the disciples and encouraging them to remain true to the faith. We must go through many hardships to enter the kingdom of God, In that bright land to which I go - James 1:17 Every good and perfect gift is from above, coming down from the Father of the heavenly lights, who does not change like shifting shadows.I'm going home to see my Father - John 6:40 - For my Father's will is that everyone who looks to the Son and believes in him shall have eternal life, and I will raise him up at the last day. I'm only going over Jordan - Joshua 22:4: Now that the LORD your God has given your brothers rest as he promised, return to your homes in the land that Moses the servant of the LORD gave you on the other side of the Jordan. Yet though dark clouds will gather round me - 2 Corinthians 12:10: That is why, for Christ's sake, I delight in weaknesses, in insults, in hardships, in persecutions, in difficulties. For when I am weak, then I am strong. I know my way is rough and steep - Psalm 16:11: You have made known to me the path of life; you will fill me with joy in your presence, with eternal pleasures at your right hand. Proverbs 15:24: The path of life leads upward for the wise to keep him from going down to the grave.But beauteous fields lie just before me - Numbers 13:25: We arrived in the land you sent us to see, and it is indeed a magnificient country, a land flowing with milk and honey. Where God's redeemed their vigil's keep - Exodus12:42: Because the LORD kept vigil that night to bring them out of Egypt, on this night all the Israelites are to keep vigil to honor the LORD for the generations to come. I'm going home to see my mother - Mark 10:29-31: I tell you the truth, Jesus replied, no one who has left home or brothers or sisters or mother or father or children or fields for me and the gospel will fail to receive a hundred times as much in this present age (homes, brothers, sisters, mothers, children and fields-and with them, persecutions.
$4.59
4.24 €
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Chorale TTBB
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Unknown - traditional
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Paul A
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peripatetic country preachers
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WAYFARING STRANGER
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Paul A. Jorg
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SheetMusicPlus
The Sundials
Piano Trio,String Ensemble - Digital Download SKU: A0.1004152 Composed by Matthew S…
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Piano Trio,String Ensemble - Digital Download SKU: A0.1004152 Composed by Matthew Scott Phillips. Contemporary. Score and parts. 98 pages. Matthew Scott Phillips #5800833. Published by Matthew Scott Phillips (A0.1004152). Throughout the centuries, civilizations have used sundials to tell time. This instrument consists of a gnomon (Greek for knower), a long pole or incline, whose shadow is cast onto a flat stone or metal plate, that either lies on the ground or is erected onto a wall. This plate is marked with the hours of the day, and the gnomon's shadow passes over the marks. More than just an ancient timepiece, these instruments are doorways to the eternal past, and prophets of the eternal future. They bare witness to the infinite fleeting-ness of the lives of human beings. Unlike a modern watch or digital clock, in which every second enjoys its own momentary significance, the hours as marked by the sundial flow into one another in a continuous stream, that is ultimately timeless. The final hour of any mortal creature is, in this way, no more significant than the first, and all our hours seem insignificant in the context of the cosmos' grandness. Etched upon a great many sundials, in Greek, Latin, English, German, or French, is a motto designed to inspire human beings to consider these truths. Why so many sundial makers felt the need to inscribe on their creations their own philosophies and musings is unclear. Yet, each of these mottos seems contrived to express the contemplations of time and eternity so integral to the sundials' existence. Mottos such as umbra sumus (we amount to shadow) often hold multiple meanings. The we referred to can be the hours, which seem extant only because of the shadow passing over them. Or it can refer to the ephemeral nature of our lives, which on the grand calendar of eternity are so short as to be nothing. Or perhaps it warns that time itself is no more than an illusion; a shadow. Whether they are existential, humorous (I only count the sunny hours), or offer advice (use the hours, don't count them), these mottos are intended to give us pause: to compel us to look for a moment, not at the fleeting significance of our mundane lives, ticked away as they are in tiny hours, but to consider the eternal time that lies beyond us, and to therefore be briefly in contact with it. This composition, approximately an hour long and written for piano trio (Piano, Violin, and Cello), intends as its goal the same purpose as the mottos that inspired it. To transport those who listen to it (listen not merely hear) away from the earthly, and into the cosmic. Each movement is named after a different motto. The mottos, their English translations and the locations of the sundials that bare (or once bore) them is listed at the front. This is one hour, hopefully, that will not simply fade away, but rather will be one spent in the company of the eternal. .
$7.00
6.46 €
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Matthew Scott Phillips
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a shadow
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The Sundials
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Matthew Scott Phillips
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SheetMusicPlus
En Face Du Miroir (Facing The Mirror)
Piano seul
Piano Solo - Advanced - Digital Download Composed by Isadar. Contemporary Classical, …
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Piano Solo - Advanced - Digital Download Composed by Isadar. Contemporary Classical, Jazz, Recital, Americana, New Age. Sheet Music Single. 11 pages. Published by Mainya Music Publishing (BMI)
Contains:<br> "En Face Du Miroir (Facing The Mirror)"<br> - taken from the Isadar solo piano complete collection, "Red" (also available on SMP)<br> <br> Sounds like: Keith Jarrett, Bill Evans, Vince Guaraldi, Liz Story, George Winston, early Windham Hill solo piano artists<br> <br> Transcribed by: David Shenton ( https://www.shentonmusic.com/ ) verbatim to the sound recording<br> <br> Album & Songbook Review by: Kathy Parsons<br> <br> Red is pianist/composer Isadar’s genre-defying tenth solo piano album and seventeenth independent release from the past twenty years. It is also the third installment in a trilogy of solo piano albums released in the past year - Reconstructed, a Will Ackerman-produced anthology of some of Isadar’s best piano pieces; O Christmas, Isadar’s second piano Christmas album; and now Red, a bittersweet love-themed album that took seven years to produce and that consists of the first new original solo piano material Isadar has released in more than ten years.<br> <br> I have been reviewing and thoroughly enjoying Isadar’s releases since his second piano album, 1999’s Active Imagination, which still stands as one of my favorite recordings. Even though I have been a big fan for many years, I was still blown away by Isadar’s live performance in my house concert series in July 2010. The man has magic fingers and an extraordinary piano touch that are perfectly suited to express his imaginative, distinctive, and emotionally powerful music.<br> <br> Isadar is also a singer/songwriter and an electronic musician who creates the music videos for much of his music, dramatizing the stories that inspired the songs. I will always be partial to Isadar’s piano albums because his voice and vision are unique, incorporating jazz, new age, pop, and classical stylings into a musical language all his own.<br> <br> Red opens with “Broken Valentine,” a free-flowing expression of heartbreak and the broad range of emotions that go with it, alternating between grief and confusion then shifting to perhaps anger and resignation - a great beginning. The title track conveys the freedom of an improvisation while weaving together a variety of upbeat themes. “The Man Who Broke My Heart” is energetic and in constant swirling motion - also very free and from deep within. “The Stairwell” is darker and much more mysterious, overflowing with Isadar’s intriguing accented rhythms and picturesque compositional style. My favorite track is the almost nine-minute “Letting Go,” a piece that intertwines a series of musical vignettes into a powerful, colorful musical collage. I love the way Isadar seamlessly goes from flowing and smooth to a bouncy jazz style to high drama without missing a beat. Great stuff! “En Face Du Miroir (Facing the Mirror)” is much lighter, with fingers dancing nimbly around the piano keyboard. The album closes with “Blood ... Thicker Than Water,” again a combination of changing themes that could well be a musical family portrait - different personalities working separately and as a unit, bound together by the unseen ties that keep families together through thick and thin.<br> <br> Isadar has created another piano masterpiece that should be more widely heard than his previous releases due to the success of Reconstructed. I hope so, anyway! Red is available from isadar.com, Amazon, iTunes, and CD Baby. Very highly recommended!<br> <br> Isadar’s Red: Solo Piano Sheet Music Collection is a note-for-note transcription of all seven pieces from Isadar’s 2013 CD/download release by the same name. The music was transcribed by David Shenton (shentonmusic.com) with clear, concise notation that includes dynamics, pedaling and metronome settings.<br> <br> Isadar is an amazing pianist with a style all his own, so this isn’t a book that most pianists will be able to just sit down and play. It will take some work and attention to detail to get this music right, but it will be well worth the effort. Having the recording for handy reference would be a big help.<br> <br> Rhythms are often complex and syncopated, but are usually repeated within each piece, so once you have them, the rest will follow fairly easily. There are only a few chords with a reach of more than an octave and none of the key signatures are terribly difficult. The layout and spacing of the music is excellent, and the paper stock is a bright white 9”x12” format with a stapled binding.<br> <br> If you enjoy listening to Isadar’s music, I’m sure you will enjoy playing it, too! This songbook is available from isadar.com. Recommended!<br> <br> The songs with their key signatures and the number of pages is listed below:<br> <br> Broken Valentine - C minor (3 flats) - 4 pages<br> Red - A minor (0 sharps or flats) - 5 pages<br> The Man Who Broke My Heart - A minor - 6 pages<br> The Stairwell - F# minor (3 sharps) - 7 pages<br> Letting Go - F minor (4 flats) / C minor (3 flats) - 8 pages<br> En Face Du Miroir (Facing the Mirror) - Ab (4 flats) / F minor/ Bb minor (5 flats) / Db (5 flats) - 7 pages<br> Blood ... Thicker Than Water - A Minor/ C (0) / F (1 flat) - 7 pages<br> <br> Isadar is an artist on both Enlightened Piano Radio & Whisperings Solo Piano Radio, the latter featuring some of today's biggest names in solo piano music, including Ludovico Einaudi, David Nevue, Brian Crain, Kevin Kern, Robin Spielberg, Michele McLaughlin, Philip Wesley and over 300 more...<br> <br> Also available as sheet music in physical songbooks, digital downloads, as well as software for Yamaha Disklavier player-pianos.<br> <br> For more information, visit his website at: http://www.isadar.com
$5.99
5.53 €
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Piano seul
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Isadar
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En Face Du Miroir
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Mainya Music Publishing
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SheetMusicPlus
The Dove
Quatuor à cordes: 2 violons, alto, violoncelle
Tenor and string quartet - Digital Download SKU: S9.Q6385 Auf Texte aus der Bibe…
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Tenor and string quartet - Digital Download SKU: S9.Q6385 Auf Texte aus der Bibel. Composed by Naji Hakim. This edition: score and parts. Downloadable, Score and parts. Duration 7 minutes. Schott Music - Digital #Q6385. Published by Schott Music - Digital (S9.Q6385). German • English.This piece shows my hope to have our churches not only in peace but also in full communion. Naji Hakim Die Taube (The Dove) was commissioned by â€Kirchenmusik bei St. Anna Augsburg†to celebrate the 450th anniversary of the Augsburger Religionsfrieden (Religious peace of Augsburg). It is based on three biblical verses related to peace : Gen. 8/11, Luk. 1/79, Joh. 14/27. The music is through composed and develops the character of the verses with contrasted string textures, putting in relief the expressive vocal line, declamation of light and happiness. The work exists in three versions : 1. for Tenor and string quartet, 2. for Tenor and string orchestra, 3. for Tenor and organ. First performance : by Robert Sellier, Tenor, Capella St. Anna Streichquartett, St. Anna Augsburg, Festkonzert zum Hohen Friedensfest, 8 August 2005. Gen.8/11 : â€And the dove came in to him in the evening; and, lo, in her mouth was an olive leaf pluckt off. †Luk. 1/79 : â€To give light to them that sit in darkness and in the shadow of death, to guide our feet into the way of peace. †Joh.14/27 : â€Peace I leave with you, my peace I give unto you. †...to guide our feet into the way of peace. (Luke 1,79) Words and music bind people together to form fellowships which guide us into the way of peace. Singing or playing together combine bodies and souls, so that our rhythm and breathing becomes one - a sense of belonging to one another is created which instils the very nature of peace. So it is that by becoming an integral part of the music, our feet are guided 'into the way of peace'. In Luke chapter 1, both Maria and Zechariah are carried away, body and soul, in hymns of thanksgiving. They let God´s melody resound in their bodies. Ignatius, one of the Early Fathers of the Church, might have drawn his inspiration from them when he wrote to the Christians of Ephesus around the year 100, Let God´s melody resound in you. The melody of our life is a single voice within God´s great melody; an everlasting celestial melody, in which we join together as integral parts - with time, we are gradually shown which chords we are given to touch and which chords to form with one another. God´s inextinguishable melody has an infinite galaxy of variations. As you would know, a variation is rooted but limitless. At our christening, God gives us a variation - an inextinguishable variation because of his promise, I am with you always, even to the end of the age. (Matthew 28, 20). Deeply rooted as we are, God leads us through. He calls us to Life out of His Eternity, He lets his melody reverberate in us and finally calls us back, when we die, to His everlasting future. Let God´s melody resound in you and guide your feet into the way of peace. Pastor Hanne Margrethe Tougaard.
$22.99
21.23 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Naji Hakim
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The Dove
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Schott Music - Digital
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SheetMusicPlus
Everything for the Church Soloist-Digital Download
Vocal, Solo Solo Voice - Digital Download SKU: H1.804DP Arranged by Don Doig, Jack …
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Vocal, Solo Solo Voice - Digital Download SKU: H1.804DP Arranged by Don Doig, Jack Schrader, and John F. Wilson. General Worship. Collection. 392 pages. Hope Publishing - Digital #804DP. Published by Hope Publishing - Digital (H1.804DP). By Various Writers.140 Christian songs by Various Writers Contains over 140 songs including: Because He Lives, Communion Song, Great Is Thy Faithfulness, the Holy City, I Wonder as I Wander, Learning to Lean, Malotte's Lord's Prayer, Wedding Song, and The Palms. Contains over 140 songs including: Because He Lives, Communion Song, Great Is Thy Faithfulness, the Holy City, I Wonder as I Wander, Learning to Lean, Malotte's Lord's Prayer, Wedding Song, and The Palms.
Song List: A Song About Me A Worthy Woman Above the Hills of Time All In The Name Of Jesus Alleluia (Schubert) Amazing Grace Because He Lives Because You Are God's Chosen Ones The Birthday of the King The Blood Will Never Lose Its Power The Body of Our Lord Born Again Bread Of The World In Mercy Broken Bridal Prayer Bring Back The Springtime Chosen of the Lord Christ Living Within You Clean Before My Lord Come, Praise the Lord! Communion Song Eternal Life Flee As A Bird For Those Tears I Died Gentle Like Jesus The Gift Of Love Give Me Jesus Give Them All To Jesus Grace Greater Than Our Sin Great Is Thy Faithfulness Have Thine Own Way, Lord! He Carried My Cross He Died for Me He Shall Feed His Flock He Turned The Water Into Wine He Was There All The Time He's a Wonderful Lord The Heavens Declare His Glory Help Us Accept Each Other Here's My Life Here's One His Eye Is On The Sparrow Ho! Everyone Who Is Thirsty The Holy City How Big Is God How Quiet Is the Night How Real! Hush Now I Am His And He Is Mine I Am the Vine I Am Willing, Lord I Heard About A Man I Just Came To Praise The Lord I Know Where I'm Going I Saw the Lord, and All Beside Was Darkness I Walked Today Where Jesus Walked I Want Jesus to Walk with Me I Wonder as I Wander I Wonder Why? If Jesus Had Not Come If My People Will Pray If with All Your Hearts If You Need a Helping Hand I'm Goin' Home In Jesus' Name In the Image of God Into My Heart It Was His Love It Won't Stop Ivory Palaces Jesus Is Lord Of All Jesus Revealed in Me Just A Closer Walk With Thee Just Because I Asked Lead Me To Calvary Learning to Learn Life Indeed Like A Child Little Baby Jesus Lonely Voices The Lord Is My Light Lord, Listen to Your Children Lord, Show the Way Lord, Take Control of Me The Lord's Prayer Love Came Down At Christmas Love Theme Love Was When Marvelous Mystery May the Mind of Christ Mirror More (Than You'll Ever Know) My Cup Overflows My Jesus, I Love Thee My Tribute The New 23rd New Wind Blowin' No One Ever Cared For Me Like Jesus No Power of My Own Nothing ... Everything O Father in Heaven O Glorious Love! O Holy Night O Lord Most Holy O Rest in the Lord O The Deep, Deep Love Of Jesus Of Love I Sing Oh, What Love! Open the Gates of the Temple The Palms Praise The Lord, He Never Changes Reach Out to Your Neighbor Ring The Bells Rise Again Savior, My Heart Is Thine Seek Ye First Shepherd Of Love Something Beautiful So Great Is His Mercy Spirit Of God Strength to My Soul Sweet Is the Name of Jesus Take God By the Hand Take My Life Ten Thousand Angels Thank You for These Gifts Thanks to God That Someday Is Now That's Why We Are Beautiful Then shall the righteous shine forth There's A Quiet Understanding They Led Him Away This Is My Commandment This Is The Time I Must Sing The Touch Of The Master's Hand The Twenty-Third Psalm (Malotte) Until Then Wedding Song Welcome Home, Children What God Hath Promised What Grace Is This! What Have They Done? Whither Thou Goest Who Are You to Disagree? Who Is This Boy? Who Shall Separate Us? Who Will Go? Worthy Is The Lamb Yes, God Is Real You're Something Special
$79.95
73.84 €
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Various Writers
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Everything for the Church Soloist-Digital Download
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Hope Publishing - Digital
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SheetMusicPlus
Chording to the Dance Masters - Melody and chords for 44 Renaissance Dance Consort pieces
Instruments en Do
C Instrument - Level 2 - Digital Download By Various. By Anonymous, Claudin de Sermis…
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C Instrument - Level 2 - Digital Download By Various. By Anonymous, Claudin de Sermisy, Henry VIII, Pierre Phalese, Thoinot Arbeau, John Dowland (1563- 1626), Michael Praetorius (1571-1621), Pierre Attaignant (1494-1553), Pierre Certon (1510-1572), William Cornysh (1470-1523), Juan Del Encina (1468-1530), Claude Gervaise (1540-1560), Giorgio Mainerio (1535-1582), Erasmus Widmann (1572-1634), and Tielman Susato (1500-1561). Arranged by Alastair Lodge. 151, 153, 162, Folk, Renaissance. Lead Sheet / Fake Book. 38 pages. Wold Meridian #727149. Published by Wold Meridian
Chording to the Dance Masters is a selection of dance tunes that were collected originally between about 1500 and 1620. Printing made many of these tunes popular throughout Europe during these times, some of them composed by the printer/publishers themselves, but many more of them existed previously as rustic dance tunes or popular chansons. The works were originally published to be played by three to five instrumentalists, with no particular instruments specified. They suited consorts or “choirs” of instruments that were depicted in the illustrations of Agricola, Mersenne and most notably Praetorius and are now preserved in museums around the world.<br> <br> Many editions exist in the 3, 4 or 5 parts as originally published, and these are an absolute joy to perform from, where the interweaving parts create interesting harmonies that demonstrate the skills of these renaissance composer/arranger/publishers. Playing with modern reproductions of the early instruments will recreate textures and sounds unique to this period. However, not everyone is lucky enough to either own these instruments or else have contact with others with whom they could form ensembles. This book aims to widen the experience out to those who would like to play these tunes on their own or with the accompaniment of a guitar, keyboard or other available chordal instrument. Fake books abound for those who wish to play Jazz, Folk, Classical and Popular music where the melody is annotated with chords so that players can access these tunes in their own way. As far as I am aware, this has not often been done for the player who wishes to busk their way through music of the Renaissance period.<br> <br> I have attempted to include all the chords implied by the polyphonic parts of the original publications, simply because it is in the transitions of the harmonies under the melodies where the genius of the original arranger/publisher resides. Those who go on to explore the original versions may look forward to the way in which each line presents the player with intrinsically beautiful counter melodies.<br> <br> At first, the rapidity of chord changing can be a bit daunting, so I have marked out what I consider to be the essential chords for accompaniment in boxes. Playing just these will provide adequate accompaniment, whilst leaving the more adventurous scope to enhance their performance by referencing some of the other chords. You can hear the chording arrangements together with the original 3, 4 or 5 part versions of all 44 pieces on a YouTube playlist which has been made as a companion to this volume at<br> <br> https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNS<br> <br> As well as the solo or player in a duo, this book would also be of value for someone who is used to reading chords rather than melody lines wishing to join in with a renaissance consort. The selection I have chosen represents quite a few of the “standards” that have become regularly played since the revival of renaissance music in the late 1960s. It is hoped that should this volume prove popular, companion volumes with all the parts provided for the same pieces could make essential repertoire for the budding renaissance dance consorts of the future.
$11.46
10.58 €
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Instruments en Do
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Various
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Chording to the Dance Masters - Melody and chords for 44 Renaissance Dance Consort pieces
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Wold Meridian
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SheetMusicPlus
The Christmas Wish (Vocal Solo)
Chorale Unison
Choral Choir (Unison) - Level 4 - Digital Download SKU: A0.727123 Composed by Carol…
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Choral Choir (Unison) - Level 4 - Digital Download SKU: A0.727123 Composed by Carol Troutman Wiggins [ASCAP], Mary White Pustrom. Christmas,Contemporary,Holiday,Pop,Singer/Songwriter. Octavo. 11 pages. Carol Troutman Wiggins #2907289. Published by Carol Troutman Wiggins (A0.727123). The Christmas WishVocal Solo for AltoWould you like a different kind of Christmas wish this year? Here it is!This song is based on the poem Christmas Wishes written by contemporary author and poet Mary White Pustrom. Mary wrote many poems with the theme of Christmas, including what she thought people should wish for at Christmas. While so many adults wish for a new car, a sparkling diamond ring, or celebrating with a nice vacation in the tropics, she believes that Christmas wishes should be taken a step further by considering the wishes and needs of others more so than our own. In her poem Christmas Wishes, her desire for reaching out to others and granting them their wishes for the simple things in life take on great meaning: Christmas Wishes by Mary White Pustrom Now that Christmas is drawing near I cannot help but seeAll the poor and needy people who are reaching out to me. It seems that everywhere I look there is a need to fill; I feel so inadequate when their wishes I can't fill. Among the lights and decorations, there is hunger and despair, Faces filled with sadness while bright carols fill the air; Little children who are cold and hungry wait for Santa Claus, Wishing that he would bring them food, for that's a worthy cause. Others laughing, smiling, singing - so completely unaware Of all the pain and suffering that's around them everywhere; They wish for generosity in our thoughts, time, and deeds, And wish that here at Christmas time, someone could fill their needs. My wish is that we reach out to our sisters and our brothers, Who depend on us for kindness from one to another; Fill our hearts with Christmas cheer, and teach us how to share, So that Christmas wishes will be fulfilled all throughout the year. It sounds like she might have the right idea. At this time of year, it is so easy to get caught up in buying and receiving presents, the lights, and the Christmas tree, without considering the simple needs of others. Maybe this year, these simple wishes will come true for some: · Sick little children to be healed · Homeless people and children to find a family · For the less fortunate to have enough food, clothing, shelter, and shoes on their feet · That no one spends Christmas lonely and alone, and spent the way it should be, with loving family and friends. Most of all, wish that by caring for one another, Christmas wishes would come true all year long. ~ Carol Troutman Wiggins
$5.95
5.5 €
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Chorale Unison
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Carol Troutman Wiggins [ASCAP], Mary White Pustrom
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The Christmas Wish
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Carol Troutman Wiggins
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SheetMusicPlus
The Story of a Leader
Chorale SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1143904 Composed by Igor K…
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1143904 Composed by Igor Korneitchouk. 20th Century,A Cappella,Contemporary,Religious. Octavo. 37 pages. Studio at the Post #744209. Published by Studio at the Post (A0.1143904). Duration: 16 minutes, 33 pp. Description: Exodus is a great story that belongs to everyone. Not only is it central to Judaism, not only is it integral to the Christian Bible, it is an immortal story that has been, and continues to be, an inspiration to oppressed peoples everywhere on this planet. It is relevant not just as ancient scripture but as living text, to be rediscovered by each new generation of an ever-widening Family of Man. The theme of struggle against oppression and slavery was just as relevant to the early Christians persecuted in Ancient Rome as it was relevant to the American Civil Rights movement of the 1960's, just as relevant to the Soviet Jews wishing to emigrate as it is to the South African Blacks resisting Apartheid. From the Dark Ages and the Spanish Inquisition, to Ghandi's emancipation of India, to the Holocaust, to, full-circle, the ongoing struggles in Palestine today, the story of Exodus is a guiding light in a dim and often grim world. According to the composer: The Story of a Leader is a collection of ‘re-chorales’ I created one summer when I was totally immersed in a post-educational obsession with the 371 Chorales by Johann Sebastian Bach. We used to study these to learn the rules of harmony and voice-leading (no parallel fifths, avoid crossed voices, etc.) at the Cleveland Institute of Music where I began my compositional career. That summer, now a professor of music in my own right, I discovered many broken and bent rules by the master himself and, along with the glory of being able to work through these Chorales myself at the piano, I felt an incredible feeling of liberation and possibilities unmediated by instructors of music theory. I began by stripping away all that Bach wrote, leaving only the hymn tunes which were not his to begin with. These tunes existed long before Bach used them for his tonal experiments, some attributed to Martin Luther, or someone else, others simply listed as ‘anonymous’. The same is true for the texts, which were then translated into English mostly in the 19th century (the provenance of each can be found herein on the first page of each of my reharmonizations). In some cases I modified the text to fit the context. I selected 12 of these ‘re-chorales,’ linking them together based on their texts in a kind of logic that worked for me, and created a narrative that told The Story of a Leader (Moses). This story is highlighted in the music with such techniques as cross-modal harmonies, points of imitation, a beer drinking song in one instance, and in another, to symbolize the parting of the seas for Moses’ people, an inversion of the soprano line in the bass..
$15.04
13.89 €
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Chorale SATB
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Igor Korneitchouk
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The Story of a Leader
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Studio at the Post
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SheetMusicPlus
We Must Learn to Walk Together
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waite…
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waites. By Lisa Waites. Arranged by Lisa Waites. Folk,Holiday,Multicultural,Praise & Worship,Sacred,World. Score. 2 pages. Servant Song Music and Ministry #649158. Published by Servant Song Music and Ministry (A0.1044425). I wrote this reconciliation hymn back in 2016, when elders from the Blood Tribe, Metis, Piikani, and Siksika nations of Southern Alberta led the Reconciliation Week events at Medicine Hat College, in Medicine Hat, Alberta. They invited me to write and teach this hymn as part of the sessions at MHC, where I was (then) the ecumenical Chaplain. It has been an honour to participate in this annual tradition of indigenous leaders sharing their distinctive cultural practices, traditions, and values with the public in Medicine Hat (and the surrounding communities) for a decade, now. During the session I was asked to assist with, the Elders were sharing the Seven Grandfathers' Teachings, and so I included these core values into the lyrics of the hymn. The work in Medicine Hat started with expressions of lament and support from a group of local churches and the Medicine Hat College Chaplaincy program while the Truth and Reconciliation Commission was crossing the country. We quickly realized that many non-indigenous Canadians genuinely wanted to learn more about their First Nations, Metis, and Inuit neighbours. Seeing an urgent need for greater awareness about the intergenerational damage that was done by the Indian Residential School system here in Canada, and also identifying these Reconciliation events as a way to decrease racist stereotypes and assumptions about indigenous peoples, we decided to continue offering an annual reconciliation session, which grew, year by year. A decade later, I'm delighted to have seen deeper, healthier relationships being built between indigenous and non-indigenous people. Musically, this hymn loosely imitates the style of the French Canadian Voyageurs, the folk melodies of the 18th and 19th centuries. The lyrics incorporate the Seven Grandfathers' Teachings. This core ethical framework has many different versions, but many First Nations communities have adopted these teachings in some form. (I've heard Elders say that Respect must come first, because it is the foundation that we build on, but for this particular group at Medicine Hat College, Humility was first on the list). I have Metis ancestry myself, and as an adult, I have researched the long-hidden genealogical and cultural treasures of my family tree. Whether you are an indigenous person looking to support other indigenous Christian composers, or whether you are a non-indigenous person who is trying to broaden the repertoire of your congregation, We Must Learn to Walk Together is an upbeat, hope-filled hymn that sings about reconciliation as if it is not only possible in the distant future - but also achievable today, using the concrete steps suggested by the lyrics. The indigenous wisdom of the Seven Grandfathers' Teachings lines up beautifully with the teachings of Christ. Musically, this hymn is highly accessible for congregational singing; the range is moderate and the rhythms provide musical interest without becoming overly complex; to hear the guitar version and melody line of the hymn being played and sung by the composer, please go to the following YouTube link: https://youtu.be/3DpkFCLxgEs. The musical format of the hymn alternates between the chorus and three verses. The piece takes roughly 3:30 to perform. This hymn has been transcribed in the key of C Major, so it is as easy as possible for church accompanists to play and for congregations to sing; guitarists are invited to play in the key of A Major and simply capo 3. Guitar chords are included. I hope and pray that this hymn for reconciliation will help you, your congregation, and the wider community to think about, pray for, and enact the calls to action of the Canadian Truth and Reconciliation Commission in new and deeper ways this year.
$3.99
3.68 €
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Piano, Voix et Guitare
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Lisa Waites
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Lisa Waites
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We Must Learn to Walk Together
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Servant Song Music and Ministry
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SheetMusicPlus
The Sundials: II; Pereunt et Imputantur (They pass and are counted)
Trio à Cordes: violon, alto, violoncelle
String Ensemble,String Trio - Digital Download SKU: A0.1004149 Composed by Matthew …
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String Ensemble,String Trio - Digital Download SKU: A0.1004149 Composed by Matthew Scott Phillips. 20th Century,Contemporary. Score and parts. 13 pages. Matthew Scott Phillips #3510885. Published by Matthew Scott Phillips (A0.1004149). Throughout the centuries, sundials (a flat plate that marks the time of the day by the shadow of a gnomon which is cast onto it) have been used by civilizations to tell time. Unlike modern clocks and digital watches, in which every single second has its own momentary significance, telling time by sundial is more evolutionary. The seconds, and hours, melt into one another. It is perhaps for this reason that sundials have often been conceived not only as practical time pieces, but as works of art, metaphors, and creations that are inherent expressions of the personality of their creators. Etched in many sundials across the world, in Latin, English, German, and other languages are often found mottoes that reflect the thoughts of the sundial's creator. These mottoes can be fatalistic, humorous, transient, morbid, or serene, and almost always involve the subjects of time, the passing of the hours, life and its brevity, or metaphors involving shadows. Many times these mottoes feature some witticism, such as I only count the sunny hours (since a shadow must be present for a sundial to function). Other times, they can be revealingly existential (We are but shadow), and other times offer advice (Use the hours, don't count them).It is these statements of philosophy, etched in sundials throughout the centuries, that most interests me. I am currently composing a set of movements for piano trio (Piano, Violin, Cello) dedicated to the mottoes found on sundials, and their significance to me. The first movement, subtitled Tempus Edax Rerum (Time devours things) is expansive and attempts a feeling of eternity, into which all seemingly fast moving workings of human beings are inevitably subsumed. For the second movement I am considering the phrase Pereunt et Imputantur (They pass and are counted referring to the hours of the day), and its implication of the way in which time can slip away, whether we observe it or not.
$2.00
1.85 €
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Trio à Cordes: violon, alto, violoncelle
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Matthew Scott Phillips
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The Sundials: II; Pereunt et Imputantur
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Matthew Scott Phillips
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SheetMusicPlus
The Sundials: III; Tempus Fugit Velut Umbra (Time flees like a shadow)
Piano Trio,String Ensemble - Digital Download SKU: A0.1004151 Composed by Matthew S…
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Piano Trio,String Ensemble - Digital Download SKU: A0.1004151 Composed by Matthew Scott Phillips. 20th Century,Contemporary. Score and parts. 9 pages. Matthew Scott Phillips #3510887. Published by Matthew Scott Phillips (A0.1004151). Throughout the centuries, sundials (a flat plate that marks the time of the day by the shadow of a gnomon which is cast onto it) have been used by civilizations to tell time. Unlike modern clocks and digital watches, in which every single second has its own momentary significance, telling time by sundial is more evolutionary. The seconds, and hours, melt into one another. It is perhaps for this reason that sundials have often been conceived not only as practical time pieces, but as works of art, metaphors, and creations that are inherent expressions of the personality of their creators. Etched in many sundials across the world, in Latin, English, German, and other languages are often found mottoes that reflect the thoughts of the sundial's creator. These mottoes can be fatalistic, humorous, transient, morbid, or serene, and almost always involve the subjects of time, the passing of the hours, life and its brevity, or metaphors involving shadows. Many times these mottoes feature some witticism, such as I only count the sunny hours (since a shadow must be present for a sundial to function). Other times, they can be revealingly existential (We are but shadow), and other times offer advice (Use the hours, don't count them).It is these statements of philosophy, etched in sundials throughout the centuries, that most interests me. I am currently composing a set of movements for piano trio (Piano, Violin, Cello) dedicated to the mottoes found on sundials, and their significance to me. The first movement, subtitled Tempus Edax Rerum (Time devours things) is expansive and attempts a feeling of eternity, into which all seemingly fast moving workings of human beings are inevitably subsumed. For the second movement I am considering the phrase Pereunt et Imputantur (They pass and are counted referring to the hours of the day), and its implication of the way in which time can slip away, whether we observe it or not.
$2.00
1.85 €
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Matthew Scott Phillips
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The Sundials: III; Tempus Fugit Velut Umbra
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Matthew Scott Phillips
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SheetMusicPlus
The Sundials: I;Tempus Edax Rerum (Time devours things)
Piano Trio,String Ensemble - Digital Download SKU: A0.1004148 Composed by Matthew S…
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Piano Trio,String Ensemble - Digital Download SKU: A0.1004148 Composed by Matthew Scott Phillips. 20th Century,Contemporary. Score and parts. 16 pages. Matthew Scott Phillips #3510879. Published by Matthew Scott Phillips (A0.1004148). Throughout the centuries, sundials (a flat plate that marks the time of the day by the shadow of a gnomon which is cast onto it) have been used by civilizations to tell time. Unlike modern clocks and digital watches, in which every single second has its own momentary significance, telling time by sundial is more evolutionary. The seconds, and hours, melt into one another. It is perhaps for this reason that sundials have often been conceived not only as practical time pieces, but as works of art, metaphors, and creations that are inherent expressions of the personality of their creators. Etched in many sundials across the world, in Latin, English, German, and other languages are often found mottoes that reflect the thoughts of the sundial's creator. These mottoes can be fatalistic, humorous, transient, morbid, or serene, and almost always involve the subjects of time, the passing of the hours, life and its brevity, or metaphors involving shadows. Many times these mottoes feature some witticism, such as I only count the sunny hours (since a shadow must be present for a sundial to function). Other times, they can be revealingly existential (We are but shadow), and other times offer advice (Use the hours, don't count them).It is these statements of philosophy, etched in sundials throughout the centuries, that most interests me. I am currently composing a set of movements for piano trio (Piano, Violin, Cello) dedicated to the mottoes found on sundials, and their significance to me. The first movement, subtitled Tempus Edax Rerum (Time devours things) is expansive and attempts a feeling of eternity, into which all seemingly fast moving workings of human beings are inevitably subsumed. For the second movement I am considering the phrase Pereunt et Imputantur (They pass and are counted referring to the hours of the day), and its implication of the way in which time can slip away, whether we observe it or not.
$2.00
1.85 €
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Matthew Scott Phillips
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The Sundials: I;Tempus Edax Rerum
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Matthew Scott Phillips
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SheetMusicPlus
Toasting Mother Earth
Piano, Voix
Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1255098 Composed by Ross Fid…
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Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1255098 Composed by Ross Fiddes. 21st Century,Chamber,Classical,Contemporary. Score. 25 pages. Ross Fiddes #848692. Published by Ross Fiddes (A0.1255098). It was in the aftermath of the 2020 summer bushfires in Australia that soprano Ayse Goknur Shanala rang me from Cyprus to suggest I compose a work about climate change, a subject of concern for me.  My research for lyrics did not elicit anything I considered suitable, so I turned to Derek Dowding, a local poet, singer, actor, raconteur, and a person vitally interested in the future of humanity and of the planet.Derek and I had worked together before – he brilliantly performed the role of Abelard in the workshopping and concert performances of my hybrid opera “Abelard and Heloiseâ€, which, in 1997, won the supreme CONDA (City of Newcastle Drama Award)  for ‘Outstanding Achievement in Newcastle Theatre’ against some 200 other stage productions in Newcastle’s bi-centenary year.Derek worked long and late on the lyrics for the work, producing an emotional document covering history, cause and effect.  His words produced musical responses from me which I consider react appropriately to both his words and the subject matter. I hope our listeners will agree.For the musical treatment I had to consider that the length of the work, through-sung, 20+ minutes, required a recurrent grounding to avoid too many thematic ideas getting in the way of the words.  To that end, I created a quasi-reflective section which appears, rondo-style, quite a few times during the length of the piece.  And, for further cohesion, I built an ABA (ternary) section early to address certain word structures.  Mostly, the various sections followed the stanza structure provided by Derek, with some combinations.  My musical style is essentially melodic, but with dramatic and other episodes, be they tonal, astringent, harmonically indecisive and so on.  In building the work I was principally influenced by the impact and flow of the words.The work is quite mammoth for both the singer and the pianist.  I was absolutely delighted that Anna Fraser again premiered a work of mine – in 2015 she marvellously premiered another major composition of mine, reviewed here:  http://soundslikesydney.com.au/reviews/concert-review-the-man-in-the-other-roomacacia-quartetanna-fraser/19830.htmlWe can only hope that the new work ultimately adds to the chorus of warnings and concern about the climactic future that awaits if we continue to ignore or postpone dramatic and urgent attention to addressing the causes of climate change.A living orb cloaked white and blue and greenRevolving and evolving, tight-hugged in orbit flightWe ride her back; dependent, fragile offspring.Suckling all the while …but have we bonded?A world unlike any other world we’ve seenGifted with Water, Air, Earth and perfect Light.The essentials of life. Freely, these gifts she brings.Free for all but how have we responded?                                   Poem© 2020 Derek DowdingRoss FiddesJanuary 2023.
$35.00
32.32 €
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Piano, Voix
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Ross Fiddes
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dependent, fragile offspring
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Toasting Mother Earth
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Ross Fiddes
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SheetMusicPlus
1917: The Halifax Disaster
Orchestre d'harmonie
Concert Band - Level 4 - Digital Download SKU: A0.1008264 Composed by William Brenn…
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Concert Band - Level 4 - Digital Download SKU: A0.1008264 Composed by William Brenner. Contemporary. Score and parts. 80 pages. William Brenner #5370501. Published by William Brenner (A0.1008264). Halifax was devastated on 6 December 1917 when two ships collided in the city's harbour, one of them a munitions ship loaded with explosives bound for the battlefields of the First World War. What followed was one of the largest human-made explosions prior to the detonation of the first atomic bombs in 1945.(...)In early December, one of the merchant ships in port was the large, Norwegian vessel Imo, en route from Halifax to New York to pick up relief supplies (...) Another was the French munitions ship Mont-Blanc - filled with tons of benzol, the high explosive picric acid, TNT and gun cotton - arriving in Halifax to join a convoy across the ocean.(...)The Imo was departing the harbour on the morning of 6 December 1917 (...) Imo had an experienced, local harbour pilot on board, William Hayes, who knew the navigation rules of the harbour. However, earlier encounters that morning with two inbound vessels moving towards Bedford Basin - both of which Imo had passed starboard-to-starboard - resulted in the unusual position that Imo now occupied, too far to the east (...) The Mont-Blanc had arrived outside Halifax the previous day and anchored overnight at the mouth of the harbour. On the morning of 6 December, the ship was cleared by harbour authorities to proceed toward Bedford Basin. Despite the Mont-Blanc's dangerous cargo, there was no special protocol for the passage of munitions ships in the harbour. Other ships such as the Imo were not ordered to hold their positions that morning until the Mont-Blanc had made safe passage through the port. Francis Mackey, Mont-Blanc's pilot, was guiding the ship inbound on the Dartmouth-side of the Narrows, when he encountered the Imo heading straight towards him in what he believed was Mont-Blanc's lane. Mackey would later maintain that the Imo was moving at an unsafe speed for such a large, unwieldly ship in the harbour, and also that incoming ships (in this case Mont-Blanc) had the right-of-way over outgoing vessels. Regardless of the accuracy of those claims, what is certain is that the Imo was sailing too far to the east, in what should have been Mont-Blanc's path.After a series of whistles and miscommunications between the officers and pilots on the two ships, and failed manoeuvres to avoid a collision, the Imo struck the starboard bow of the Mont-Blanc. After a few moments the two ships parted, leaving a gash in Mont-Blanc's hull and generating sparks that ignited volatile grains of dry picric acid, stored below its decks. (...) The Mont-Blanc exploded at 9:04:35 a.m., sending out a shock wave in all directions, followed by a tsunami that washed violently over the Halifax and Dartmouth shores. More than 2.5 square km of Richmond were totally levelled, either by the blast, the tsunami, or the structure fires caused when buildings collapsed inward on lanterns, stoves and furnaces.Homes, offices, churches, factories, vessels (including the Mont-Blanc), the railway station and freight yards - and hundreds of people in the immediate area - were obliterated. (...) Across Halifax, there were miraculous stories of survival. And equally, stories of tragedy. Many children were killed on their walk to school that morning, or blinded by flying glass. Those that survived the blast stumbled home, only to find their houses shattered, or their parents dead or wounded, among the wreckage. (...) Every year on 6 December, people gather above the Narrows to hear the ringing of the memorial's carillon bells, and to remember the victims of the disaster. www.thecanadianencyclopedia.ca/en/article/halifax-explosion
$22.99
21.23 €
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Orchestre d'harmonie
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William Brenner
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1917: The Halifax Disaster
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William Brenner
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SheetMusicPlus
Back to the Heart
Voix Alto, Piano
Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859668 Composed by Sydne…
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Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859668 Composed by Sydney Stevens. Folk,New Age,Pop. 7 pages. Sydney Stevens, Water Music #2959571. Published by Sydney Stevens, Water Music (A0.859668). Contact: sydneystevenspianostudio@gmail.comBack to the Heart: Emotional, heartfelt piano/vocal composed by Sydney Stevens (ASCAP). Sheet music arrangement is for piano/vocal/chords. From Album: Cycles of Life Theme: Going away, the sister that I know. Estrangement from someone who was once close. Mood: Serious, reflective, sad, emotionally moving. Musical Traits: Simple left hand piano, right hand reflects vocal part. Performance Time: 3:50 Sydney Stevens music is available on: Pandora, Spotify, iTunes, Amazon, Whisperings Solo Piano Radio, AllMusic More Links: www.sydneystevenswatermusic.comhttp://www.linkedin.com/in/sydney-stevens-532a113a BIOGRAPHY:Sydney Stevens began writing melodies on the piano before she could reach the pedals. Her earliest memory was watching her mother play classical piano. She began piano lessons at the age of 8, and started composing shortly thereafter.Stevens approaches her compositions as an artist. She paints musical portraits of the things that bring meaning to life: relationship to living things, emotional healing, discovering what matters most and honoring that as best we are able. Stevens' beautiful piano-based music aligns one with their own heart. Although some of her music can be described as New Age, her roots are heavily based in classical and jazz. Her study of classical composition makes her music more complex than some New Age music. Her music has been likened to the impressionistic composers such as Claude Debussy. Sydney's formal training is also reflected in her ability to compose for orchestral instruments. Her latest release, Cycles of Life, was solely recorded and produced by Sydney, programming all of the virtual instruments.Sydney has a great love for jazz. Keith Jarrett was an influence on her with his innovative and improvisational piano recordings and performances. She was particularly impressed with the freedom of style he portrayed in his performances. Bill Evans was something Sydney heard played as a young child. Where her mother was a classical pianist, her father was a jazz pianist. Perhaps that's why some of Sydney’s music can be described as a crossover between classical and jazz--remnants from those early years. Joni Mitchell and Judy Collins were big inspirations for Sydney's songwriting. She was especially drawn to the deeply emotional lyrics in many of their songs.Cycles of Life, the title track from Sydney's current release, was composed for her late step dad. The song is about the cycle of birth and death: Cycles of life go on, yet we carry all that we've known and loved through the ages. Time, another track on Sydney's current release, is a song about how time passes more quickly when we are doing something we cherish. Brian's Song, inspired by the loss of her father-in-law, reflects: All that really matters is the way we fill our heart, and the ways that it has loved. Dawn, a track from Sydney's album Seasons, is a beautiful piano-based instrumental with light string background. It portrays that very peaceful hour as the sun slowly lights up the world -- the hour of dawn.Sydney is a poet. She sees the world through a heart that feels the joy and sorrow of the world and those she meets. Her gift is the ability to transfer that emotion into music. Listening to her music is like taking a journey. She delves into depths of emotion, often taking the listener to places that can be difficult to go without the comfort of a beautiful song to accompany them.In addition to being a prolific.
$4.95
4.57 €
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Voix Alto, Piano
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Sydney Stevens
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Back to the Heart
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Sydney Stevens, Water Music
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SheetMusicPlus
2-Part Invention No. 5 in Eb major by J.S. BACH, BWV 776 for Solo Piano
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.790126 Composed by Johann Sebastian…
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Piano Solo - Level 3 - Digital Download SKU: A0.790126 Composed by Johann Sebastian Bach. Arranged by Diamond S Music. Baroque,Concert,Instructional. Score. 3 pages. Diamond S Music #3664615. Published by Diamond S Music (A0.790126). 2-Part Invention No. 5 in Eb major by J.S. BACH, BWV 776 for Solo Piano. This is the original version of the beloved 15 2-Part Inventions by Johann Sebastian Bach. The Inventions is a collection of short pieces Bach wrote for the musical education of his young pupils. These are among the finest examples of artistic gems ever written for this purpose, and probably because of this, they became very popular among Bach's pupils and others ever since they were written. The work comprises fifteen two-part, each named 'inventio', and fifteen three-part pieces, named 'sinfonia'. These two groups of pieces are arranged in an identical fashion-in ascending order by key-so that there is little doubt that Bach's intention was to bring them together as a single work. This is also confirmed by the way they are carefully written in his autograph fair copy penned in 1723. On every facing page of an open volume each piece demonstrates the contrapuntal technique, while, at the same time, explores a wide range of musical expressions using various styles and developing the motives in a logical fashion. Other similar arrangements and selections from DIAMOND S MUSIC available at: https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$2.99
2.76 €
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Piano seul
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Johann Sebastian Bach
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Diamond S Music
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2-Part Invention No. 5 in Eb major by J.S. BACH, BWV 776 for Solo Piano
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Diamond S Music
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SheetMusicPlus
2-Part Invention No. 11 in G minor by J.S. BACH, BWV 782 for Solo Piano
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.790133 Composed by Johann Sebastian…
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Piano Solo - Level 3 - Digital Download SKU: A0.790133 Composed by Johann Sebastian Bach. Arranged by Diamond S Music. Baroque,Instructional. Score. 3 pages. Diamond S Music #3664635. Published by Diamond S Music (A0.790133). 2-Part Invention No. 11 in G minor by J.S. BACH, BWV 782 for Solo Piano. This is the original version of the beloved 15 2-Part Inventions by Johann Sebastian Bach. The Inventions is a collection of short pieces Bach wrote for the musical education of his young pupils. These are among the finest examples of artistic gems ever written for this purpose, and probably because of this, they became very popular among Bach's pupils and others ever since they were written. The work comprises fifteen two-part, each named 'inventio', and fifteen three-part pieces, named 'sinfonia'. These two groups of pieces are arranged in an identical fashion-in ascending order by key-so that there is little doubt that Bach's intention was to bring them together as a single work. This is also confirmed by the way they are carefully written in his autograph fair copy penned in 1723. On every facing page of an open volume each piece demonstrates the contrapuntal technique, while, at the same time, explores a wide range of musical expressions using various styles and developing the motives in a logical fashion. Other similar arrangements and selections from DIAMOND S MUSIC available at: https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$2.99
2.76 €
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Piano seul
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Johann Sebastian Bach
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Diamond S Music
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2-Part Invention No. 11 in G minor by J.S. BACH, BWV 782 for Solo Piano
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Diamond S Music
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SheetMusicPlus
2-Part Invention No. 10 in G major by J.S. BACH, BWV 781 for Solo Piano
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.790132 Composed by Johann Sebastian…
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Piano Solo - Level 3 - Digital Download SKU: A0.790132 Composed by Johann Sebastian Bach. Arranged by Diamond S Music. Baroque,Concert,Instructional. Score. 3 pages. Diamond S Music #3664633. Published by Diamond S Music (A0.790132). 2-Part Invention No. 10 in G major by J.S. BACH, BWV 781 for Solo Piano. This is the original version of the beloved 15 2-Part Inventions by Johann Sebastian Bach. The Inventions is a collection of short pieces Bach wrote for the musical education of his young pupils. These are among the finest examples of artistic gems ever written for this purpose, and probably because of this, they became very popular among Bach's pupils and others ever since they were written. The work comprises fifteen two-part, each named 'inventio', and fifteen three-part pieces, named 'sinfonia'. These two groups of pieces are arranged in an identical fashion-in ascending order by key-so that there is little doubt that Bach's intention was to bring them together as a single work. This is also confirmed by the way they are carefully written in his autograph fair copy penned in 1723. On every facing page of an open volume each piece demonstrates the contrapuntal technique, while, at the same time, explores a wide range of musical expressions using various styles and developing the motives in a logical fashion. Other similar arrangements and selections from DIAMOND S MUSIC available at: https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$2.99
2.76 €
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Piano seul
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Johann Sebastian Bach
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Diamond S Music
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2-Part Invention No. 10 in G major by J.S. BACH, BWV 781 for Solo Piano
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Diamond S Music
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SheetMusicPlus
2-Part Invention No. 8 in F major by J.S. BACH, BWV 779 for Solo Piano
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.790129 Composed by Johann Sebastian…
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Piano Solo - Level 3 - Digital Download SKU: A0.790129 Composed by Johann Sebastian Bach. Arranged by Diamond S Music. Baroque,Concert,Instructional. Score. 3 pages. Diamond S Music #3664627. Published by Diamond S Music (A0.790129). 2-Part Invention No. 8 in F major by J.S. BACH, BWV 779 for Solo Piano. This is the original version of the beloved 15 2-Part Inventions by Johann Sebastian Bach. The Inventions is a collection of short pieces Bach wrote for the musical education of his young pupils. These are among the finest examples of artistic gems ever written for this purpose, and probably because of this, they became very popular among Bach's pupils and others ever since they were written. The work comprises fifteen two-part, each named 'inventio', and fifteen three-part pieces, named 'sinfonia'. These two groups of pieces are arranged in an identical fashion-in ascending order by key-so that there is little doubt that Bach's intention was to bring them together as a single work. This is also confirmed by the way they are carefully written in his autograph fair copy penned in 1723. On every facing page of an open volume each piece demonstrates the contrapuntal technique, while, at the same time, explores a wide range of musical expressions using various styles and developing the motives in a logical fashion. Other similar arrangements and selections from DIAMOND S MUSIC available at: https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$2.99
2.76 €
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Piano seul
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Johann Sebastian Bach
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Diamond S Music
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2-Part Invention No. 8 in F major by J.S. BACH, BWV 779 for Solo Piano
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Diamond S Music
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SheetMusicPlus
2-Part Invention No. 6 in E major by J.S. BACH, BWV 777 for Solo Piano
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.790128 Composed by Johann Sebastian…
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Piano Solo - Level 3 - Digital Download SKU: A0.790128 Composed by Johann Sebastian Bach. Arranged by Diamond S Music. Baroque,Concert,Instructional. Score. 3 pages. Diamond S Music #3664619. Published by Diamond S Music (A0.790128). 2-Part Invention No. 6 in E major by J.S. BACH, BWV 777 for Solo Piano. This is the original version of the beloved 15 2-Part Inventions by Johann Sebastian Bach. The Inventions is a collection of short pieces Bach wrote for the musical education of his young pupils. These are among the finest examples of artistic gems ever written for this purpose, and probably because of this, they became very popular among Bach's pupils and others ever since they were written. The work comprises fifteen two-part, each named 'inventio', and fifteen three-part pieces, named 'sinfonia'. These two groups of pieces are arranged in an identical fashion-in ascending order by key-so that there is little doubt that Bach's intention was to bring them together as a single work. This is also confirmed by the way they are carefully written in his autograph fair copy penned in 1723. On every facing page of an open volume each piece demonstrates the contrapuntal technique, while, at the same time, explores a wide range of musical expressions using various styles and developing the motives in a logical fashion. Other similar arrangements and selections from DIAMOND S MUSIC available at: https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$2.99
2.76 €
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Piano seul
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Johann Sebastian Bach
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Diamond S Music
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2-Part Invention No. 6 in E major by J.S. BACH, BWV 777 for Solo Piano
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Diamond S Music
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SheetMusicPlus
2-Part Invention No. 1 in C major by J.S. BACH, BWV 772 for Solo Piano
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.790122 Composed by Johann Sebastian…
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Piano Solo - Level 3 - Digital Download SKU: A0.790122 Composed by Johann Sebastian Bach. Arranged by Diamond S Music. Baroque,Concert,Instructional. Score. 3 pages. Diamond S Music #3664605. Published by Diamond S Music (A0.790122). 2-Part Invention No. 1 in C major by J.S. BACH, BWV 772 for Solo Piano. This is the original version of the beloved 15 2-Part Inventions by Johann Sebastian Bach. The Inventions is a collection of short pieces Bach wrote for the musical education of his young pupils. These are among the finest examples of artistic gems ever written for this purpose, and probably because of this, they became very popular among Bach's pupils and others ever since they were written. The work comprises fifteen two-part, each named 'inventio', and fifteen three-part pieces, named 'sinfonia'. These two groups of pieces are arranged in an identical fashion-in ascending order by key-so that there is little doubt that Bach's intention was to bring them together as a single work. This is also confirmed by the way they are carefully written in his autograph fair copy penned in 1723. On every facing page of an open volume each piece demonstrates the contrapuntal technique, while, at the same time, explores a wide range of musical expressions using various styles and developing the motives in a logical fashion. Other similar arrangements and selections from DIAMOND S MUSIC available at: https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$2.99
2.76 €
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Piano seul
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Johann Sebastian Bach
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Diamond S Music
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2-Part Invention No. 1 in C major by J.S. BACH, BWV 772 for Solo Piano
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Diamond S Music
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SheetMusicPlus
2-Part Invention No. 14 in Bb major by J.S. BACH, BWV 785 for Solo Piano
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.790136 Composed by Johann Sebastian…
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Piano Solo - Level 3 - Digital Download SKU: A0.790136 Composed by Johann Sebastian Bach. Arranged by Diamond S Music. Baroque,Concert,Instructional. Score. 3 pages. Diamond S Music #3664649. Published by Diamond S Music (A0.790136). 2-Part Invention No. 14 in Bb major by J.S. BACH, BWV 785 for Solo Piano. This is the original version of the beloved 15 2-Part Inventions by Johann Sebastian Bach. The Inventions is a collection of short pieces Bach wrote for the musical education of his young pupils. These are among the finest examples of artistic gems ever written for this purpose, and probably because of this, they became very popular among Bach's pupils and others ever since they were written. The work comprises fifteen two-part, each named 'inventio', and fifteen three-part pieces, named 'sinfonia'. These two groups of pieces are arranged in an identical fashion-in ascending order by key-so that there is little doubt that Bach's intention was to bring them together as a single work. This is also confirmed by the way they are carefully written in his autograph fair copy penned in 1723. On every facing page of an open volume each piece demonstrates the contrapuntal technique, while, at the same time, explores a wide range of musical expressions using various styles and developing the motives in a logical fashion. Other similar arrangements and selections from DIAMOND S MUSIC available at: https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$2.99
2.76 €
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Piano seul
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Johann Sebastian Bach
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Diamond S Music
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2-Part Invention No. 14 in Bb major by J.S. BACH, BWV 785 for Solo Piano
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Diamond S Music
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SheetMusicPlus
2-Part Invention No. 2 in C minor by J.S. BACH, BWV 773 for Solo Piano
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.790123 Composed by Johann Sebastian…
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Piano Solo - Level 3 - Digital Download SKU: A0.790123 Composed by Johann Sebastian Bach. Arranged by Diamond S Music. Baroque,Concert,Instructional. Score. 3 pages. Diamond S Music #3664607. Published by Diamond S Music (A0.790123). 2-Part Invention No. 2 in C minor by J.S. BACH, BWV 773 for Solo Piano. This is the original version of the beloved 15 2-Part Inventions by Johann Sebastian Bach. The Inventions is a collection of short pieces Bach wrote for the musical education of his young pupils. These are among the finest examples of artistic gems ever written for this purpose, and probably because of this, they became very popular among Bach's pupils and others ever since they were written. The work comprises fifteen two-part, each named 'inventio', and fifteen three-part pieces, named 'sinfonia'. These two groups of pieces are arranged in an identical fashion-in ascending order by key-so that there is little doubt that Bach's intention was to bring them together as a single work. This is also confirmed by the way they are carefully written in his autograph fair copy penned in 1723. On every facing page of an open volume each piece demonstrates the contrapuntal technique, while, at the same time, explores a wide range of musical expressions using various styles and developing the motives in a logical fashion. Other similar arrangements and selections from DIAMOND S MUSIC available at: https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$2.99
2.76 €
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Piano seul
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Johann Sebastian Bach
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Diamond S Music
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2-Part Invention No. 2 in C minor by J.S. BACH, BWV 773 for Solo Piano
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Diamond S Music
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SheetMusicPlus
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