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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
3.69 €
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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
In My Room
Chorale TTBB
Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.928974 By The Beach Boys. …
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Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.928974 By The Beach Boys. By Brian Wilson and Gary Usher. Arranged by Donald A. Mills, 2019. A Cappella,Pop,Rock. Octavo. 3 pages. Donald A Mills #4351149. Published by Donald A Mills (A0.928974). In My Room, by The Beach Boys. This gentle song may be sung as a prayer, with tenderness. Your audiences will love the melody and harmonies. This arrangement by Donald A. Mills is for barbershop as a quartet or chorus. It is TTBB (TLBB) a cappella, sung softly, sweetly, legato, singing the four dotted quarter notes as a 3/4 time. The Beach Boys have mentioned that they wrote In My Room in 12/8 time because they had tired of the 3/4 time many songs of the day were written in. From Wikipedia, Gary Usher explained that 'In My Room found us taking our craft a little more seriously. Brian and I came back to the house one night after playing 'over-the-line' (a baseball game). I played bass and Brian was on organ. The song was written in an hour... Brian's melody all the way. The sensitivity... the concept meant a lot to him. When we finished, it was late, after our midnight curfew. In fact, Murry [the Wilson brothers' father] came in a couple of times and wanted me to leave. Anyway, we got Audree [the Wilson brothers' mother], who was putting her hair up before bed, and we played it for her. She said, 'That's the most beautiful song you've ever written.' Murry said, 'Not bad, Usher, not bad,' which was the nicest thing he ever said to me. Gary Usher (who co-wrote the lyrics with Brian Wilson) further describes that Brian was always saying that his room was his whole world. Brian seconds this opinion: I had a room, and I thought of it as my kingdom. And I wrote that song, very definitely, that you're not afraid when you're in your room. It's absolutely true. In 1990, Brian wrote, I also enjoyed producing 'In My Room'. There is a story behind this song. When Dennis, Carl and I lived in Hawthorne as kids, we all slept in the same room. One night I sang the song 'Ivory Tower' to them and they liked it. Then a couple of weeks later, I proceeded to teach them both how to sing the harmony parts to it. It took them a little while, but they finally learned it. We then sang this song night after night. It brought peace to us. When we recorded 'In My Room', there was just Dennis, Carl and me on the first verse...and we sounded just like we did in our bedroom all those nights. This story has more meaning than ever since Dennis' death.
$1.99
1.84 €
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Chorale TTBB
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The Beach Boys
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Donald A
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In My Room
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Donald A Mills
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SheetMusicPlus
Robert Orledge: A Night in the House of Usher for organ, based on themes from Debussy's "La Chute de
Orgue
Organ - Level 5 - Digital Download SKU: A0.534661 Composed by Claude Debussy/Robert…
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Organ - Level 5 - Digital Download SKU: A0.534661 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Halloween. Score. 16 pages. Musik Fabrik Music Publishing #5739561. Published by Musik Fabrik Music Publishing (A0.534661). Over the years 1908–16, Debussy had produced a viable scenario for Usher on his third attempt. But when he came to making a complete draft of the music, he seems to have lost interest during Roderick Usher’s long monologue, even though he was setting his own text. As in No-ja-li he jumped to the next passage that interested him, in this case the exciting final melodrama and the collapse of the Usher house itself.In the process of completing the missing half of the score, I discovered that by reusing Debussy’s material for similar psychological situations across the opera, and by metamorphosing existing ideas (as Debussy does with Mélisande’s theme in his opera Pelléas et Mélisande), the only things I really needed to add were linking material and any passages where fast music was required. So the ‘nightmare scherzo’, and Lady Madeline’s escape from her coffin and her final bloody revenge on her brother are all mine, but most of the rest is existing Debussy in changing contexts (in which the Russian technique of ‘changing backgrounds’, both harmonic and textural, proved extremely useful, as it did to Debussy in his Prélude à l’après-midi d’un faune). Eventually, both my completed ballet No-ja-li and the House of Usher were successfully premiered in 2006 and the latter soon began to find its way into the established repertoire in Europe and the US. To further support this, I transcribed some of the highlights of Debussy’s score as A Night in the House of Usher for organ, and subsequently piano—with a focus on Scene 2 and the final, horrific and maca-bre melodrama. This climaxes in the double deaths of Roderick Usher and his Sister Madeline, together with the disintegration of the ill-fated House of Usher into the stagnant lake-all beneath a blood-red moon.In this form it was first performed by Ian Buckle in the Howard Assembly Rooms, Leeds in 2010.
$12.95
11.96 €
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Orgue
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Claude Debussy/Robert Orledge
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Robert Orledge: A Night in the House of Usher for organ, based on themes from Debussy's "La Chute de
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Musik Fabrik Music Publishing
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SheetMusicPlus
In the House of Too Much Trouble
Piano, Voix
Piano and voice - Digital Download SKU: LV.644 Composed by Will. A. Heelan & J. Fre…
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Piano and voice - Digital Download SKU: LV.644 Composed by Will. A. Heelan & J. Fred Helf. Portraits, Children praying, Sick children, Death, Heaven. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.644). In the House of Too Much Trouble. Words and Music by Will. A. Heelan and J. Fred Helf. Published 1900 by Jos. W. Stern & Co., 34 East 21st St. in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Portraits, Children praying, Sick children, Death, Heaven. First line reads In the house of too much trouble, lived a lonely little boy.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.53 €
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Piano, Voix
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Will
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In the House of Too Much Trouble
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
In My Father's House
Piano, Voix
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.841650 Composed by Andrew Mc…
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.841650 Composed by Andrew Mc Donald. Christian,Gospel,Pop. Score. 6 pages. Andrew Mc Donald (Macka Records) #3473051. Published by Andrew Mc Donald (Macka Records) (A0.841650). In My Father's House is a song about what it's like in heaven.In My Fathers house there are many rooms of which we will share when we walk into eternity after death.
$4.99
4.61 €
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Piano, Voix
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Andrew Mc Donald
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In My Father's House
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Andrew Mc Donald
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SheetMusicPlus
Because I Could Not Stop for Death
Chorale SATB
Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1308012 By Richard …
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Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1308012 By Richard deCosta. By Richard deCosta. Arranged by Richard deCosta. A Cappella,Chamber,Classical,Opera,Romantic Period. 4 pages. Richard deCosta #897289. Published by Richard deCosta (A0.1308012). Words by Emily DickinsonMusic by Richard deCostaBecause I could not stop for Death –He kindly stopped for me –The Carriage held but just Ourselves –And Immortality.We slowly drove – He knew no hasteAnd I had put awayMy labor and my leisure too,For His Civility –We passed the School, where Children stroveAt Recess – in the Ring –We passed the Fields of Gazing Grain –We passed the Setting Sun –Or rather – He passed Us –The Dews drew quivering and Chill –For only Gossamer, my Gown –My Tippet – only Tulle –We paused before a House that seemedA Swelling of the Ground –The Roof was scarcely visible –The Cornice – in the Ground –Since then – 'tis Centuries – and yetFeels shorter than the DayI first surmised the Horses' HeadsWere toward Eternity –-=-In the reclusive chambers of Emily Dickinson's 19th-century Massachusetts home, the haunting poem, 'Because I Could Not Stop for Death,' was conceived. Living much of her life in isolation, Dickinson's thoughts often ventured into the shadowlands of existence. This poem, published posthumously in 1890, offers a chilling reflection of her contemplation. The Grim Reaper, a timeless symbol, is portrayed as a carriage driver, guiding the reader through a somber journey that mirrors the ephemeral nature of life. Passing scenes of childhood innocence, maturity's labor, and the twilight of existence, it culminates in the cold embrace of the grave. Her words, etched in a gothic darkness, resonate with the uncertainties and fears of her time, transcending to speak to the eternal human condition.
$7.99
7.38 €
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Chorale SATB
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Richard deCosta
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Richard deCosta
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Because I Could Not Stop for Death
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Richard deCosta
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SheetMusicPlus
President Garfield Died Last Night. Break the Sad News to His Mother. Pathetic Song and Chorus
Piano, Voix
Piano and voice - Digital Download SKU: LV.12272 Composed by A.H. Rosewig. Portrait…
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Piano and voice - Digital Download SKU: LV.12272 Composed by A.H. Rosewig. Portraits, James A. Garfield, Death, Mothers & children, Pain. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.12272). President Garfield Died Last Night. Break the Sad News to His Mother. Pathetic Song and Chorus. Words by R. Griswold. Music by A.H. Rosewig. Published 1881 by Lee & Walker, 1113 Chestnut St. in Philadelphia. Composition of strophic with SATB chorus with piano and voice instrumentation. Subject headings for this piece include Portraits, James A. Garfield, Death, Mothers & children, Pain. First line reads The buckeye shadows the farm house door Where an aged woman is sitting.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.53 €
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Piano, Voix
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A
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President Garfield Died Last Night. Break the Sad News to His Mother. Pathetic Song and Chorus
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
I Will Follow You Into The Dark
Violon, Violoncelle (duo)
Cello,Instrumental Duet,Violin - Level 4 - Digital Download SKU: A0.1123883 By Deat…
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Cello,Instrumental Duet,Violin - Level 4 - Digital Download SKU: A0.1123883 By Death Cab For Cutie. By Benjamin Gibbard. Arranged by Sarah Cellobat Chaffee. Contemporary,Pop,Rock,Singer/Songwriter,Wedding. 6 pages. Sarah Cellobat Chaffee #724642. Published by Sarah Cellobat Chaffee (A0.1123883). I Will Follow You Into The Dark was recorded with vocals, a guitar, and just one microphone, and released by Death Cab For Cutie as a single in 2005. The simple acoustic ballad has since become the band's best-selling single to date; it has received the most radio airplay of any of their songs, and it's been featured in numerous TV shows and movies and covered by many other bands and artists. So you can't go wrong having this one in your gig books! Originally written for a wedding ceremony, this Cellobat arrangement for violin and cello duet maintains the beautiful melodic lines, acoustic guitar rhythms, and emotional intensity of the original for a chart that's sure to pull on your audience's heartstrings! Rated advanced-intermediate mainly for some tricky rhythms throughout; both parts remain entirely in first position. Sarah “Cellobat†Chaffee is an in-demand acoustic & electric cellist and string arranger. Currently, she performs with legendary rock band Aerosmith in their “Deuces Are Wild†residency show, and she is the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays with many other groups including Premiere Wedding Music, Bella Electric Strings, the Femmes Of Rock, and David Perrico’s Pop Strings Orchestra. Sarah has performed and recorded with numerous other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Michael Bublé, Sarah Brightman, and Lady A. She is the exclusive arranger for a number of award-winning wedding and event companies all across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles all over the world. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobat.
$9.99
9.23 €
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Violon, Violoncelle (duo)
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Death Cab For Cutie
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Sarah Cellobat Chaffee
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I Will Follow You Into The Dark
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Sarah Cellobat Chaffee
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SheetMusicPlus
Paul Wehage: To You for baritone, tenor saxophone and piano
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Downlo…
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Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Download SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3396161. Published by Musik Fabrik Music Publishing (A0.534375). To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.Whitman’s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poe’s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poet’s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..To YouWhoever you are, I fear you are walking the walks of dreams,I fear these supposed realities are to melt from under your feet and hands,Even now your features, joys, speech, house, trade, manners,troubles, follies, costume, crimes, dissipate away from you,Your true soul and body appear before me.They stand forth out of affairs, out of commerce, shops, work,farms, clothes, the house, buying, selling, eating, drinking,suffering, dying.Whoever you are, now I place my hand upon you, that you be my poem,I whisper with my lips close to your ear.I have loved many women and men, but I love none better than you.O I have been dilatory and dumb,I should have made my way straight to you long ago,I should have blabb'd nothing but you, I should have chanted nothingbut you.I will leave all and come and make the hymns of you,None has understood you, but I understand you,None has done justice to you, you have not done justice to yourself,None but has found you imperfect, I only find no imperfection in you,None but would subordinate you, I only am he who will never consentto subordinate you,I only am he who places over you no master, owner, better, God,beyond what waits intrinsically in yourself.Painters have painted their swarming groups and the centre-figure of all,From the head of the centre-figure spreading a nimbus of gold-color'd light,But I paint myriads of heads, but paint no head without its nimbusof gold-color'd light,From my hand from the brain of every man and woman it streams,effulgently flowing forever.O I could sing such grandeurs and glories about you!You have not known what you are, you have slumber'd upon yourselfall your life,Your eyelids have been the same as closed most of the time,What you have done returns already in mockeries,(Your thrift, knowledge, prayers, if they do not return inmockeries, what is their return?)The mockeries are not you,Underneath them and within them I see you lurk,I pursue you where none else has pursued you,Silence, the desk, the flippant expression, the night, theaccustom'd routine, if these conceal you from others or fromyourself, they do not conceal you from me,The shaved face, the unsteady eye, the impure complexion, if thesebalk others they do not balk me,The pert apparel, the deform'd attitude, drunkenness, greed,premature death, all these I part aside.There is no endowment in man or woman that is not tallied in you,There is no virtue,.
$29.95
27.67 €
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Paul Wehage
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Paul Wehage: To You for baritone, tenor saxophone and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
David of the White Rock
Voix haute
High voice and piano - Digital Download SKU: S9.Q20009 Dafydd y Garreg Wen. …
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High voice and piano - Digital Download SKU: S9.Q20009 Dafydd y Garreg Wen. This edition: Sheet music. Downloadable. Duration 2 minutes. Schott Music - Digital #Q20009. Published by Schott Music - Digital (S9.Q20009). Welsh.According to tradition, the Bard David lived in a house called Y Garreg Wen (The White Rock) in a remote situation in North Wales. He was commonly called by his Christian name followed by the name of his house, a common custom in Wales, and one which survives to the present day.Like many other Welsh Bards, David was also a harpist, and is reputed to have had his harp continually at his side. On his death-bed, he is supposed to have asked that his harp be once more placed in his hands in order that he might play just one more tune.The melody he played was afterwards called by his name Dafydd Y Garreg Wen (David of the White Rock), and this same melody was performed on a single Welsh harp at his funeral, as was his dying wish.The Welsh words were subsequently added by Ceiriog Hughes in the nineteenth century. Words and melody are now inseparably linked, and are together widely known and regarded as one of the most popular of Welsh Traditional Songs.Richard Bowen (1963).
$4.99
4.61 €
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Voix haute
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David of the White Rock
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Schott Music - Digital
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SheetMusicPlus
Dark House
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.933489 Composed by Joseph …
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.933489 Composed by Joseph DuBois. Contemporary. Octavo. 6 pages. Joseph Dubois #2950329. Published by Joseph Dubois (A0.933489). Dark House is a setting of the seventh canto of Alfred Tennyson's elegiac In Memoriam A.H.H. Begun after the untimely death in 1833 of his beloved friend Arthur Henry Hallam, In Memoriam is an intense expression of the poet's grief and search for hope in the face of profound loss. The seventh canto is a description of Hallam's house and the longing of the poet for the companionship from which he once drew such joy. For Tennyson, Hallam's absence now casts a dreary pallor over the surrounding scenery that even the rising sun fails to dispel. Vocal score. Approx. duration: 3-4 minutes.
$3.99
3.69 €
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Chorale SATB
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Joseph DuBois
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Dark House
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Joseph Dubois
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SheetMusicPlus
Creeping Death
Fanfare
Marching Band - Level 3 - Digital Download SKU: A0.1193220 By Metallica. By Cliff B…
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Marching Band - Level 3 - Digital Download SKU: A0.1193220 By Metallica. By Cliff Burton, James Hetfield, Kirk Hammett, and Lars Ulrich. Arranged by Eric Kringle. Pop,Rock. Score and Parts. 25 pages. Sideways House Music #792675. Published by Sideways House Music (A0.1193220). Sure to be a favorite of your pep or marching band, Metallica's Creeping Death, is a hard-hitting metal song from the album, Ride the Lightning.Originally in e minor, the piece has been transposed to d minor to better accommodate high school instrument ranges.
$49.99
46.18 €
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Fanfare
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Metallica
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Eric Kringle
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Creeping Death
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Sideways House Music
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SheetMusicPlus
And the Crowd Cried Out
Chorale SATB
Choir Sacred (SATB choir) - Grade 4 - Digital Download SKU: JX.00-16122 Composed by…
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Choir Sacred (SATB choir) - Grade 4 - Digital Download SKU: JX.00-16122 Composed by Jay Althouse. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Alfred Archive Edition: Alfred Church Choral Series. Holy Week; Lent; Sacred; Spring. Choral Octavo. 8 pages. Jubilate Music Group - Digital #00-16122. Published by Jubilate Music Group - Digital (JX.00-16122). English.And the Crowd Cried Out is an anthem for Lent, Holy Week and Easter sunrise services. Suggested corresponding lectionary readings include Psalm 31, Isaiah 52: 13-15, Isaiah 53: 1-12, John 18: 1-40, John 19: 1-42, John 20: 1-10, Hebrews 4: 14-16 and Hebrews 5: 7-9. One basic homiletical theme is an invitation for all true believers to stand with Jesus in His betrayal, suffering, death and resurrection.
$2.25
2.08 €
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Chorale SATB
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Jay Althouse
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Choral Octavo
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And the Crowd Cried Out
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Jubilate Music Group - Digital
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SheetMusicPlus
Oh! The Old, Old Clock
Piano, Voix
Piano and voice - Digital Download SKU: LV.18290 Composed by T. A. Fowler. Domestic…
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Piano and voice - Digital Download SKU: LV.18290 Composed by T. A. Fowler. Domestic life, Time, Human life cycle, Death. Lester S. Levy Collection. 6 pages. Published by Johns Hopkins University Sheridan Libraries (LV.18290). Oh! The Old, Old Clock. Composed By T.A. Fowler. Published 1856 by William Hall & Son, 239 Broadway in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Domestic life, Time, Human life cycle, Death. First line reads Oh, the old, old clock, of the household stock, was the brightest thing, and the neatest.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.53 €
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Piano, Voix
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T
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T
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Oh! The Old, Old Clock
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
In the Locked Room
1(pic).1(ca).1.1-1.1.0.0-perc(crot, s.d, b.d, high metal block, high and med wdbl)-hp-str …
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1(pic).1(ca).1.1-1.1.0.0-perc(crot, s.d, b.d, high metal block, high and med wdbl)-hp-str - Digital Download SKU: S9.Q23800 Opera in 1 act. Composed by Huw Watkins. This edition: vocal/piano score. Downloadable, Piano reduction. Duration 45 minutes. Schott Music - Digital #Q23800. Published by Schott Music - Digital (S9.Q23800). English.Taking Thomas Hardy’s short story as its starting point, we are transported to the present for a contemporary take on the novella which explores the power the mind can have over that person’s actions. A closed door sparks an obsession so strong that the boundaries between reality and fantasy begin to blur. Ella and her high-finance husband Stephen rent a room in a holiday home on the coast, owned by Susan. Ella discovers that a locked room in the house is rented by a poet - Ben Pascoe - whose work holds a deep fascination for her. The room is held for Pascoe, though he visits rarely. Ella's obsession with Pascoe grows in parallel with the progress of Stephen's biggest City deal. She begins by imagining the poet's voice as she reads his work, but this quickly grows to fantasised encounters with Pascoe in his locked room. Stephen returns from the City and makes love to Ella, but it is not him she wishes for. We see the real Pascoe only once, with Susan. As Stephen's financial dreams are realised and Ella's fantasy consumes her, she learns of Pascoe's death. Despite her changed circumstances, Ella chooses to stay in her new world.Wenn wir den Ausgangspunkt von Thomas Hardy Geschichte betrachten, fühlen wir uns in die Gegenwart, zu einem heutigen Blick auf die Novelle transportiert. Diese Sicht verdeutlicht, welche Macht der menschliche Geist über die Handlungen einer Person hat. Eine verschlossene Tür kann eine Obsession so entzünden, dass Realität und Fantasie zu verschwimmen beginnen.
$40.99
37.87 €
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Huw Watkins
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In the Locked Room
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Schott Music - Digital
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SheetMusicPlus
In the Locked Room
1(pic).1(ca).1.1-1.1.0.0-perc(crot, s.d, b.d, high metal block, high and med wdbl)-hp-str …
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1(pic).1(ca).1.1-1.1.0.0-perc(crot, s.d, b.d, high metal block, high and med wdbl)-hp-str - Digital Download SKU: S9.Q23450 Opera in 1 act. Composed by Huw Watkins. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 45 minutes. Schott Music - Digital #Q23450. Published by Schott Music - Digital (S9.Q23450). English.Taking Thomas Hardy’s short story as its starting point, we are transported to the present for a contemporary take on the novella which explores the power the mind can have over that person’s actions. A closed door sparks an obsession so strong that the boundaries between reality and fantasy begin to blur. Ella and her high-finance husband Stephen rent a room in a holiday home on the coast, owned by Susan. Ella discovers that a locked room in the house is rented by a poet - Ben Pascoe - whose work holds a deep fascination for her. The room is held for Pascoe, though he visits rarely. Ella's obsession with Pascoe grows in parallel with the progress of Stephen's biggest City deal. She begins by imagining the poet's voice as she reads his work, but this quickly grows to fantasised encounters with Pascoe in his locked room. Stephen returns from the City and makes love to Ella, but it is not him she wishes for. We see the real Pascoe only once, with Susan. As Stephen's financial dreams are realised and Ella's fantasy consumes her, she learns of Pascoe's death. Despite her changed circumstances, Ella chooses to stay in her new world.Wenn wir den Ausgangspunkt von Thomas Hardy Geschichte betrachten, fühlen wir uns in die Gegenwart, zu einem heutigen Blick auf die Novelle transportiert. Diese Sicht verdeutlicht, welche Macht der menschliche Geist über die Handlungen einer Person hat. Eine verschlossene Tür kann eine Obsession so entzünden, dass Realität und Fantasie zu verschwimmen beginnen.
$53.99
49.88 €
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Huw Watkins
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In the Locked Room
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Schott Music - Digital
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SheetMusicPlus
Colores de un otoño incipiente
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.742752 By Juan MarÃa Solare. By …
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Piano Solo - Level 3 - Digital Download SKU: A0.742752 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary,Instructional. Score. 15 pages. Juan Maria Solare #350886. Published by Juan Maria Solare (A0.742752). Colores de un otoño incipiente -- Colors of an incipient autumn seven somewhat abstract pieces for piano Recording of Colores de un otoño incipiente - piano in several platforms Colores de un otoño incipiente -- on Spotify In this work, an idea that has haunted me for a long time crystallizes: that the titles of the individual pieces are read like lines of a poem. Colores de un otoño incipiente Declina el dÃa. Cobriza de hojarasca, la tierra aguarda. Inocencia Apergaminada por las largas vigilias. Frugal ante la desmesura, Se resignó a lo inconcluso Y dejó un hueco de luz en esta nada. Colors of an incipient autumn The day declines. Coppery with old leaves, the earth awaits. Innocence Parched by the long vigils. Frugal in the face of excess, He resigned himself to the unfinished And he left a hole of light in this nothingness. Such a poem alludes without great subtlety to decadence and aging. The title Apergaminada por las largas vigilias is taken from a poem by Pedro Lastra. Y dejó un hueco de luz en esta nada comes from a micropoem attributed to Alejandro Güerri, written in memory of Javier Adúriz. This seventh piece, transparent and delicate, pictures a being definitively transformed into light. The idea of desmesura (excess) arises from the prologue by Javier Adúriz to his book Solos de conciencia (1985): Faced with the excess of death, consciousness perceives the weakness of its willful affirmation, the one for which it feels itself unique and safe from all decrepitude. Adúriz was one of the fundamental figures in my artistic training. And apparently he still is. Musically, this cycle of works abounds in harmony of chords by fourths in a minimalist neoclassical aesthetic. The way of working texturally with the piano as an instrument - my instrument - highlights the pedal, the resonances, the third dimension of sound. These seven somewhat abstract pieces were composed at the end of 2019 in and around Bremen, in several cases with my new-born daughter Laura in my arms, trying to put her at to sleep and staying asleep. This explains the cautious nature of the music and its prudent dynamics that never reach a mezzoforte. There were several unsuccessful attempts to release this recording (initially planned for September 2020, at the beginning of autumn in the northern hemisphere). Finally, the album will be released (on Spotify and other streaming platforms) on 22 April 2022, coinciding with what would be my father's 103rd birthday. It is also autumn but in the southern hemisphere. Recorded on a Steinway B grand piano (serial number: 568208) at the Musikschule Bremen (Germany) with two Neumann KM-184 microphones. Recording and mastering technician: Alexander Derben. For the artwork, the impressive photographer and visual storyteller Leon Drago, from London, has kindly authorised the use of his photograph Pathway, The Garden House and Pergola, Hampstead Heath extension, London. The recording of Colores de un otoño incipiente (with the composer on piano) can be found here: Colores de un otoño incipiente - piano
$5.00
4.62 €
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Piano seul
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Juan MarÃa Solare
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clipboard-write
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Colores de un otoño incipiente
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Juan Maria Solare
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SheetMusicPlus
Father Kelly's
Instruments en Do
C Instrument - Digital Download SKU: A0.1050064 Composed by Traditional. Arranged b…
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C Instrument - Digital Download SKU: A0.1050064 Composed by Traditional. Arranged by Thomas Gray. Celtic,Folk,Irish,Multicultural,World. Lead Sheet / Fake Book. 1 pages. Thomas Edward Gray Music #654467. Published by Thomas Edward Gray Music (A0.1050064). 'Father Kelly’s' is a lively Irish reel that's great fun to play. It's well-known and loved and is played across the world in pubs, on stage and at Irish music sessions. It is a great reel for beginners and experts alike.History: Composed by County Galway cleric Father Patrick P.J. Kelly (1925-2006), although popularly called ‘Father Kelly’s’ or ‘Father Kelly’s Reel’ this reel was originally named ‘Rossmore Jetty’ after the pier on the River Shannon near Kelly’s hometown of Woodford in East Galway. Despite hundreds of recordings and performances of his works, Kelly never collected money for his compositions. In 2013, the RTÉ radio show ‘Ceili House’ did a tribute program to Father Kelly on the anniversary of his death.ISMN: 979-0-9022712-6-4Published by:Thomas Edward Gray MusicABN: 90 127 523 114E: tomedgray@outlook.comIf you have any comments or feel your copyright has been infringed, please contact us.
$4.00
3.7 €
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Instruments en Do
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Traditional
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Thomas Gray
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Father Kelly's
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Thomas Edward Gray Music
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SheetMusicPlus
Death Is In The House
Piano, Voix et Guitare
By Maury Yeston and Death Takes A Holiday (Musical). Broadway; Musical/Show; Pop. Piano/Vo…
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By Maury Yeston and Death Takes A Holiday (Musical). Broadway; Musical/Show; Pop. Piano/Vocal/Guitar. 7 pages. Published by Hal Leonard - Digital Sheet Music
$4.99
4.61 €
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Piano, Voix et Guitare
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Maury Yeston and Death Takes A Holiday
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Musical/Show
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Death Is In The House
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Trio No. 5 by Juozas Naujalis (1869–1934)
Orgue
Instrumental Solo,Pipe Organ - Level 2 - Digital Download SKU: A0.1250967 By IndrÄ…
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Instrumental Solo,Pipe Organ - Level 2 - Digital Download SKU: A0.1250967 By Indrė Gerikaitė. By Juozas Naujalis. Arranged by Balys Vaitkus. Classical,Religious,Romantic Period. Individual part. 2 pages. Nacionaline vargonininku asociacija #845258. Published by Nacionaline vargonininku asociacija (A0.1250967). Manuscript of Trio No. 5 has been stored in the archives of Lithuanian Theater, Music and Film Museum together with the unfinished Prelude No. 6. It seems, that these were some pages from a larger lost collection of pieces. The manuscript of Trio No. 5 was discovered in 2019 by Lithuanian organist Paulius Grigonis. At present this is its first known publication. The name Trio is slightly inaccurate for this piece, because its right hand has two voices almost throughout (33 bars out of 44 bars), which is led by the left hand and pedals. As given in the original source, the present publication maintains the free migration between the written out two-voice-texture and intervals written as one voice (bars 7, 8, 23).Juozas Naujalis (1869–1934) – Lithuanian composer and organist. In 1892, he was appointed organist and choir leader at the Kaunas Cathedral, a position he held until his death. Naujalis became actively involved in organizing local musical societies and institutions. As an outcome of his groundbreaking work, a number of important private entities, such as the first boys’ choir in Lithuania based at the Archcathedral Basilica in Kaunas, courses and the school for organists (1911), the first legal Lithuanian bookshop and music publishing house in Kaunas (1905–1912), the first music magazine Vargonininkas (The Organist) and calendars for organists published in Lithuanian (1909–1910), and the music school in Kaunas (1919), have been launched. In 1908, he founded the Children Society and St. Gregory Society for Organists, which was later reorganised into St. Cecilia Society for church musicians (1924). Naujalis was also the first Lithuanian composer to achieve recognition abroad. His church music was published in Regensburg, Warsaw, St. Petersburg, Leipzig and Paris. In recognition of his merits in the field of church music he was made Commander of the Order of the Crown of Italy in Rome, in 1929.A total of 29 organ pieces by Naujalis were recorded at the Archcathedral Basilica in Kaunas in 2019.
$4.99
4.61 €
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Orgue
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IndrÄ— GerikaitÄ—
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Balys Vaitkus
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Trio No. 5 by Juozas Naujalis
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Nacionaline vargonininku asociacija
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SheetMusicPlus
Release
Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.1022084 Composed by Bill…
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Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.1022084 Composed by Bill Taylor music, Bill Taylor with Jaye Alison Moscariello, and Lyrics. Arranged by Bill Taylor. Broadway,Contemporary,Jazz. 3 pages. William R Taylor #6475595. Published by William R Taylor (A0.1022084). Release ©2006, lyrics©2010. Bill’s mom Priscilla Alden Taylor (nee Rowe) passed on at age 90 in January, 2010. This piece was one she loved, but the words did not come until 2 months after her death and 2 days before Jaye and I were to perform Mom’s song Every Time We Meet at the Anderson Valley Variety Show. We sung it as best we could with so little practice time and in a key way too high. This version is transposed down a fifth. Listeners with parents who have gone on, and those who haven’t, may find some familiar themes here. If inspired, support your local elder and/or hospice organizations. I love my children to be happy. What’s new with you Mom? Charlotte’s got a bakery. Hannah is teaching, playing in San Jose. Tom and Jeanne expecting, he’s flying a new plane. Lucy’s kids are doing well, I’m seeing Uncle Jay. My life is going on in a most pleasant way. When are you coming here to visit, it’s been way too long? When we were children everything was made into a song. Father’s jazzy flute, brother’s boogie woogie She left Julliard to help her family Factory in the war, music she wrote A job at Schirmers she met my Dad had 5 kids Trips to Vermont and Jersey and New York Kept house, school lunch, kind words, praising Now she is running and swimming Dancing and flying, she’s singing All new adventures, new worlds to learn and know Earth body left behind, all life is love and flow Walker made her so tired, shuffling oh so slow She learned to ask for help from all of us below Gathered her children all around her at her time to go Now she’s with her God.
$2.99
2.76 €
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Bill Taylor music, Bill Taylor with Jaye Alison Moscariello, and Lyrics
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Bill Taylor
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Release
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William R Taylor
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SheetMusicPlus
Your Hand in Mine: (In manus tuas)
Chorale SSAATTBB
SSAATTBB choir unaccompanied - Moderately Difficult - Digital Download SKU: MQ.1.3571-E…
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SSAATTBB choir unaccompanied - Moderately Difficult - Digital Download SKU: MQ.1.3571-E Composed by Connor Koppin. Lent, Tenebrae. 22 pages. Duration 6 minutes, 30 seconds. Galaxy Music Corporation - Digital #1.3571-E. Published by Galaxy Music Corporation - Digital (MQ.1.3571-E). English, Latin.The writers' intent is to incorporate the sacred and the secular in this adaptation of the final, or seventh, of the Last Words of Christ, Into your hands I commend my spirit. This movement, set for SSAATTBB chorus unaccompanied, begins with the Latin text and ends with Brian Newhouse's poem in English. The English text personalizes the experience and causes the listener to reflect on death in general, both Christ's and our own. Duration: 6:30.
$3.20
2.96 €
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Chorale SSAATTBB
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Connor Koppin
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Your Hand in Mine:
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Galaxy Music Corporation - Digital
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SheetMusicPlus
Prelude
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1239146 Composed by Nikolay Artcibo…
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Piano Solo - Level 5 - Digital Download SKU: A0.1239146 Composed by Nikolay Artcibouchev. Arranged by Yury Chugunov and Zellev. 20th Century,Classical,Contemporary,Grunge,Lent. Score. 3 pages. Zellev Music #834550. Published by Zellev Music (A0.1239146). Key Signature: C♯ minorTime Signature: 12/8Tempo: Moderato assai (very moderately (126))Difficulty: AdvancedNikolai Vasilievich Artsybushev (Russian: Ðиколай ВаÑильевич Ðрцыбушев; 7 March [O.S. 23 February] 1858 – 15 April 1937) was a Russian jurist, music publisher and promoter, and minor composer. His name is sometimes seen as Artsibushev, Artsybuchev, Artzibushev, Artzybushev, Artchibousheff, Arcybusev, etc.Artsybushev was born at Tsarskoye Selo in 1858. His legal studies were at the Imperial School of Jurisprudence in Saint Petersburg, after which he practised in St Petersburg as an attorney. He also dabbled in music composition, and Nikolai Rimsky-Korsakov gave him private lessons in music theory after Mily Balakirev said his works showed some promise.He also became acquainted with the music publisher Mitrofan Belyayev and participated in his regular weekly gatherings called Fridays (Vendredis). To mark these occasions, a group of 10 composers including Artsybushev collaborated on a 16-part suite for string quartet, called Les Vendredis. His contribution was a Serenade in A major. He also collaborated with others on Variations on a Russian Theme, in versions for both string quartet and orchestra.He was a member of the St Petersburg City Council. After Belyayev's death in 1903 he became chairman of the board of the Belyayev publishing house, in which capacity he had significant dealings with Alexander Scriabin. From 1908 to 1917 he was President of his city's branch of the Russian Musical Society, and later succeeded Rimsky-Korsakov as President of the Board of Trustees for the Society for the Encouragement of Russian Musicians.In 1920 he moved to Paris and became a director of the Belyayev publishing house there. He died in Paris in 1937, aged 79.His works other than those mentioned above are now little known, but include:-Polka caractéristique, Op. 4, orchestra-Valse-Fantaisie, Op. 9, orchestra-Scherzo in C, orchestra (this had its premiere at the same concert at which Rimsky-Korsakov's-Capriccio Espagnol was premiered)-Piano pieces-Orchestral and other arrangements of works by:--Borodin--Glazunov (Suite for string quartet, Op. 35)--Mussorgsky (Night on Bald Mountain, for piano 4-hands;world premiere recording) and--Rimsky-Korsakov (Sinfonietta on Russian Themes, Op. 31).[https://en.wikipedia.org/wiki/Nikolai_Artsybushev].
$5.00
4.62 €
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Piano seul
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Nikolay Artcibouchev
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Yury Chugunov and Zellev
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7 March [O
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Prelude
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Zellev Music
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SheetMusicPlus
Hyang (Incense)
Large Ensemble Clarinet,Flute,Harp,Piano Accompaniment,Vibraphone - Level 4 - Digital Down…
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Large Ensemble Clarinet,Flute,Harp,Piano Accompaniment,Vibraphone - Level 4 - Digital Download SKU: A0.1022804 Composed by Yoonjee Kim. Contemporary,World. Score and parts. 17 pages. Yoonjee Kim #3417613. Published by Yoonjee Kim (A0.1022804). Hyang refers the incense that is particularly used in the house of mourning in Korean culture. When one goes to offer one’s condolences to the family in mourning, the first thing you can sense (smell) is the incense, ‘Hyang’. Personally, this reminisces my grandfather’s death when I was young. The sunk atmosphere, gloomy faces, soft whispers, occasional agitations, sobs, angry cries, and a complete silence...: these are the images that occupied the six year-old girl’s mind who did not understand the meaning and grief of the death at that time. Focusing on the sound color, the piece expresses the images that I captured from the mourning house through the various timbre create by different gestures with different instruments. Consequently, three senses are conceptually represented in this music: aural(sound), visual(color), and olfactory(incense).
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Yoonjee Kim
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Hyang
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Yoonjee Kim
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