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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
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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
For All We Know
Piano, Voix et Guitare
Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0015767 By Gloria Estefan. By J…
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Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0015767 By Gloria Estefan. By John Frederick Coots. Standards. 6 pages. Alfred Music - Digital Sheet Music #00-PS-0015767. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0015767). ISBN 9781470610388. UPC: 038081471044. Sam M. Lewis.Few artists have turned out as many powerhouse albums as Gloria Estefan. With her newest release, The Standards, she has managed to capture the essence of some of the most popular and timeless songs and transform them into entirely new experiences. Now pianists can explore the rich harmonies in each original arrangement as performed by the artist. Titles: Call Me Irresponsible * Embraceable You * Eu Sei Que Vou Te Amar * For All We Know * Good Morning Heartache * How Long Has This Been Going On * I've Grown Accustomed to His Face * SonrAe * The Day You Say You Love Me * The Way You Look Tonight * They Can't Take That Away from Me * What a Difference a Day Makes * What a Wonderful World * You Made Me Love You * Young at Heart.
$3.99
3.64 €
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Piano, Voix et Guitare
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Gloria Estefan
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For All We Know
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Falling In Love With Love
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1345117 Composed by Lorenz Hart and…
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Piano Solo - Level 3 - Digital Download SKU: A0.1345117 Composed by Lorenz Hart and Richard Rodgers. Arranged by Phyllis Love. Broadway,Jazz,Musical/Show,Standards. Score. 4 pages. Phyllis Love #930051. Published by Phyllis Love (A0.1345117). Falling In Love With Love from The Boys From Syracuse for intermediate pianoA contemplative treatment of a beautiful waltz from 1934, written by Rodgers and Hart. The sweetness of the lyrics are expressed in this arrangement.Accessible enough for any intermediate performer, yet incredibly rewarding for even the most accomplished pianist. Phyllis Love's instrumental arrangements for jazz piano remain true to the original melodies, with inventive harmonies and dynamic rhythmic patterns perfect for solo players! Each is a tasty addition to your show set, whether it's a classic show tune or a Standard from the Great American Songbook.Check out these other Phyllis Love arrangements for students of jazz piano:The Breeze and IThe Last Time I Saw ParisYesterdaysYou and the Night and the MusicWe'll Be Together AgainA Nightingale Sang In Berkeley SquareFor All We KnowI Thought About YouI'll Remember AprilI'm Old FashionedIt Might As Well Be SpringIt's Only A Paper MoonLove Walked InMona LisaOn the Atchison, Topeka and the Santa FeOnce In A WhileSummertimeSurrey With The Fringe On TopTenderlyThat Old Black MagicPhyllis Love is a professional jazz pianist in the New York City area who's appeared at storied venues including Windows on the World, Gramercy Park Hotel, and Mama Leone's. She's performed with the Bill Lombardo Orchestra, scored music for film (Brighty of the Grand Canyon co-composer), and written jingles for Harvey’s Bristol Crème, Estee Lauder, Seiko watches and many others.
$5.99
5.47 €
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Piano seul
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Lorenz Hart and Richard Rodgers
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Phyllis Love
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Falling In Love With Love
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Phyllis Love
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SheetMusicPlus
Irish National Anthem (Unofficial) for String Orchestra
Orchestre à Cordes
String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Ke…
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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 ScoresLondonderry 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
8.2 €
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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
For All We Know
Chorale TTBB
Choral Choir (TTBB) - Level 5 - Digital Download SKU: A0.856228 Composed by John Fr…
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Choral Choir (TTBB) - Level 5 - Digital Download SKU: A0.856228 Composed by John Frederick Coots. Arranged by Liz Garnett. Contemporary. Octavo. 4 pages. Liz Garnett #4786231. Published by Liz Garnett (A0.856228). This arrangement reimagines a barbershop classic. It is still cast as a contest-suitable ballad, intended to ve sung with a free, rubato delivery, but it has become more wistful in its colouring, with a greater awareness of the imminence of loss. It is informed by both the phrasing and the orchestral motifs of Nat King Cole's version, and it is the yearny chromatic lines that create the poignant emotional flavour.
$12.99
11.86 €
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Chorale TTBB
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John Frederick Coots
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Liz Garnett
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For All We Know
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Liz Garnett
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SheetMusicPlus
For All We Know
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.942823 Composed by…
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Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.942823 Composed by John Frederick Coots. Arranged by Ralph Ingalls. Contemporary. Score and parts. 53 pages. Ralph Ingalls #6270061. Published by Ralph Ingalls (A0.942823). Arranged in the ballad style of the Stan Kenton Orchestra. Features the trombone section, piano, and the full ensemble.
$20.00
18.25 €
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Ensemble Jazz
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John Frederick Coots
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Ralph Ingalls
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For All We Know
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Ralph Ingalls
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SheetMusicPlus
For All We Know
Small Ensemble Voice - Level 3 - Digital Download SKU: A0.872183 Composed by John F…
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Small Ensemble Voice - Level 3 - Digital Download SKU: A0.872183 Composed by John Frederick Coots. Arranged by Diane M. Clark. Barbershop. Score and parts. 4 pages. Diane M. Clark #4572363. Published by Diane M. Clark (A0.872183). Women's barbershop ballad suitable for competition. (SSAA) Learning tracks available at Holli Houtz Music.
$12.99
11.86 €
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John Frederick Coots
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Diane M
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For All We Know
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Diane M. Clark
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SheetMusicPlus
Gregory Sullivan Isaacs: Henry Faust for tenor and piano
Voix Tenor, Piano
Tenor Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.534399 Composed by Greg…
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Tenor Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.534399 Composed by Gregory Sullivan Isaacs. 20th Century,Opera,Romantic Period,Standards. 126 pages. Musik Fabrik Music Publishing #3424583. Published by Musik Fabrik Music Publishing (A0.534399). Described as a « tour de force« during the operaâ??s initial run of performances â??Henry Faustâ? by Gregory Sullivan Isaacs is a three-act, one character opera based on Goëtheâ??s play as translated by Anna Swanwich (1859) with a libretto by the composer. It was premièred at the Circle Theatre in Chicago on April 11, 1993 with the Composer as Faust and Kevin Hinton, pianistâ??Henry Faustâ? started out as a thought about the â??essenceâ? of opera. Isaacs thought that one singer, one piano, and a black box theater were all that was really needed to achieve â??opera-nessâ?. Goetheâ??s play, â??Faust,â? immediately came to mind. The tale of the professor who makes a deal with the devil for infinite knowledge and the restoration of youth, only to betray himself by lust, seemed perfect. The three-act opera is for tenor and piano and in a Goethe-era English translation by Anna Swanwick. She was the leading translator of Goethe of her day and one of the first advocates for womenâ??s rights. Every word Faust sings is a line from the play.The opera is set in a miserable single-occupancy hotel room furnished with an iron cot, a beat-up dresser and a tattered arm chair. Faust, disheveled and in his pajamas, lives out the drama. The ensuing events, the feverish creations of an addled brain, are all real to Faust. He sees and interacts with the other two characters â?? the devil and Gretchen â?? and flies to hell to dance at the Witches Sabbath. Both the tenor and piano parts are equally demanding and require artists of the first order. The tenor part covers a great range â?? both vocally and dramatically. The piano part requires a virtuoso and musically expresses all of the imaginary characters.SOME SELECTED HENRY FAUST REVIEWS â??You can add Henry Faust to that short list of successful single-singer operas (Schoenbergâ??s Ewartung and Poulencâ??s La Voix Humaine) ... it proved to be a moving experience. Isaacsâ?? music, cast in traditional forms, such as fugue, passacaglia, rondo and variation, is always accessible... often strikingly beautiful, as in the Ländler that closes act two.â? THE DETROIT FREE PRESS (John Guinn) - Detroitâ??Written in what Isaacs calls â??refreshed tonality,â?? this lush, supplely intense music serves the drama well ... from the despairing agitato of Faust's opening agonies to the lyrical frenzy of his first glimpse of Gretchen to a hushed declaration of love as tender as we could wish... Isaacs' tour de force certainly has a future.â? THE CHICAGO READER (Larry Bommer) - Chicagoâ??...the first (full evening) operatic monodrama ever promises to give Goethe's thrice-told tale a fresh contemporary slantâ?¦ a theater piece that uses opera as its language... a prototype of a new kind of small theater piece, eminently practical at a time of reduced opera company budgets... (Isaacs) brings solid professional credits ... an experienced conductor as well as composer/performer.â? THE CHICAGO TRIBUNE (John von Rhein) â?? Chicago
$65.95
60.19 €
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Voix Tenor, Piano
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Henry Faust for tenor and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Formations for Wind Ensemble
Orchestre d'harmonie
Concert Band - Level 5 - Digital Download SKU: A0.1023994 Composed by Kyle Wernke. …
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Concert Band - Level 5 - Digital Download SKU: A0.1023994 Composed by Kyle Wernke. 20th Century,Contemporary. Score and parts. 425 pages. Kyle Wernke Publishing #2120113. Published by Kyle Wernke Publishing (A0.1023994). Formations, is a celebration of the cosmos; a celebration of the tiniest of particles to the largest galaxies and everything in between. Since I was a child I've looked up at the sky and seen a world full of wonder, beauty, and mystery. The same wonder that filled my heart when I was in elementary school still takes hold when I look up now, decades later. I chose the formation of things for a specific reason. When I was a kid I had a habit of asking my parents where everything came from. It wasn't enough that a star was there, I needed to know how it got there and if possible why it was there. As I grew up I developed an immense appetite for almost all things science and history and with that came some of the answers I needed. The reality of how these things came to be was so much more interesting and astounding than my imagination that all these years later I am still captivated by the idea of an exploding star or the Big Bang. So lets take a journey, you and I. First we'll see the death of an immense star and watch as its own gravity rips it apart and forms a black hole. We'll see it feed on matter and light around it until it too finally dies. Next we'll go back 13.7 billion years and watch as tiny particles dance in and out of existence in the endless nothingness that once was. We'll see one of these tiny bits expand in an instant and give rise to everything that ever has been or will be. Watch hydrogen form and gravity pull it into the first stars. Those stars will form galaxies and we'll see glimpses of the Universe as it exists now. Finally, we will travel to the end of time, a trillion years or more into the future. There we will witness the dissipation of the galaxies, the death of stars, and the final moments as even tiny electrons are pulled apart into the nothing from which we all came. Parts of this piece are violent, but we will see that at the end of time, the formation of nothing is just as beautiful as the formation of a star. Everything has its time and everything ends. Premiered by the Hartt Wind Ensemble - Glen Adsit, Conductor.
$150.00
136.9 €
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Orchestre d'harmonie
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Kyle Wernke
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Formations for Wind Ensemble
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Kyle Wernke Publishing
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SheetMusicPlus
For All We Know
Chorale SATB
Chorus - Digital Download SKU: AX.00-PO-0002309 For All We Know - SATB. Comp…
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Chorus - Digital Download SKU: AX.00-PO-0002309 For All We Know - SATB. Composed by John Frederick Coots. Arranged by Darmon Meader and Peter Eldridge. Choral. 8 pages. Alfred Music - Digital Sheet Music #00-PO-0002309. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0002309). UPC: 038081313665. Sam M. Lewis.A breathtaking New York Voices arrangement of a touching ballad, recorded on their CD A Day Like This. The piano accompaniment is stunning and the vocal writing is contemporary. Definitely a great choice for accomplished groups to demonstrate their skill.
$2.25
2.05 €
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Chorale SATB
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John Frederick Coots
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For All We Know
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Shelter in Place for SSAATB chorus and nature soundtrack
Chorale SATB
Choral Choir (SATB divisi) - Level 3 - Digital Download SKU: A0.953628 Composed by …
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Choral Choir (SATB divisi) - Level 3 - Digital Download SKU: A0.953628 Composed by Adrienne Inglis (ASCAP). Contemporary. Octavo. 14 pages. Adrienne Inglis (ASCAP) #6405671. Published by Adrienne Inglis (ASCAP) (A0.953628). Great for concerts about nature and the environment, pandemic life, creativity!Shelter in Place by Adrienne Inglis (ASCAP) for mixed SSAATB chorus with nature soundtrack created by Chris Clark-Johnsona setting of Shelter in Place, a poem by Kim Stafford Commissioned by Lewis & Clark College, Portland, Oregon, April 2021Founder, composer, and singer with Inversion Ensemble of Austin, Texas, Adrienne Inglis also serves as principal flute with the Central Texas Philharmonic, flute instructor at Southwestern University, and flutist with flute/harp duo Chaski. She has music degrees from Lewis and Clark College and the University of Texas at Austin. An avid birder and environmentalist, she lives in the rural hill country of Central Texas.Poet Kim Stafford grew up in Oregon, Iowa, Indiana, California, and Alaska, following his parents as they taught and traveled through the West. He is the author of a dozen books of poetry and prose, and the founding director of the Northwest Writing Institute at Lewis & Clark College, where he has taught since 1979. He holds a PhD in Medieval Literature from the University of Oregon, and has worked as a printer, photographer, oral historian, editor, and visiting writer at a host of colleges and schools, and offered writing workshops in Italy, Scotland, and Bhutan.Shelter in Place by Kim Stafford (used with permission)Long before pandemic prisoned us,the trees knew how to guard their placewith roots and shade.Moss found how to hug a stone for life.Every stream knows how to move in place,stay home and yet flow outward,sending bounty far.Now is our time to practice-now to sing from balconies,now send words of comfortby any courier,now to hoard lonesome generosity-and then to shine in all directions like stars.Program note: Shelter in Place (2021) by Adrienne Inglis, commissioned by Lewis & Clark College, Portland, Oregon, April 2021, sets former Oregon poet laureate Kim Stafford’s poem Shelter in Place (2020) for SSAATB mixed choir with Oregon nature soundtrack created by Chris Clark-Johnson, Lewis & C lark College class of 2021. Written during the coronavirus pandemic, the poem expresses how quarantine can serve as a conduit for healing, how words of comfort flow despite barriers, and how the paralysis of sheltering in place generates creative movement. The music and poem draw inspiration from ancient forest wisdom, shown musically with a pentatonic scale. The tight harmonies of Locrian mode bind moss to stone and stream to its own flow. Then vocal expression bursts forth with lush harmonies as singers serenade from balconies, sharing compassion through music. Returning to the pentatonic scale, we overcome obstacles and send generosity beyond our ancient and modern world into the celestial realm. The nature soundtrack features sounds of the Oregon forest, stream, and night sky.Acknowledgements: The composer warmly thanks Katherine FitzGibbon, Bailey Dean, Chris Clark-Johnson, Kim Stafford, and the Lewis & Clark College Community Chorale. Contact the composer to obtain the audio file of the nature soundtrack.Copyright © 2021 Adrienne Inglis | adrienne.inglis.com
$3.99
3.64 €
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Chorale SATB
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Adrienne Inglis
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Shelter in Place for SSAATB chorus and nature soundtrack
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Adrienne Inglis
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SheetMusicPlus
For All We Know
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1004030 By The Carpenters.…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1004030 By The Carpenters. By Fred Karlin. Arranged by Miguel Carlos. A Cappella,Pop,Rock. Octavo. 9 pages. Miguel Carlos #5709337. Published by Miguel Carlos (A0.1004030). A capella arrangement of For All We Know, as popularized by easy listening duo The Carpenters, for SATB with solo. A simple but rewarding sing for small a capella ensembles.
$2.00
1.83 €
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Chorale SATB
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The Carpenters
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Miguel Carlos
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For All We Know
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Miguel Carlos
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SheetMusicPlus
Beethoven - The Smaller Rondo in C Major - (Key Map Tablature)
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.984709 Composed by Ludwig van Beeth…
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Piano Solo - Level 4 - Digital Download SKU: A0.984709 Composed by Ludwig van Beethoven. Arranged by John M. Honeycutt. Romantic Period. Score. 10 pages. Music Innovators Workshop #4357661. Published by Music Innovators Workshop (A0.984709). The great piece is notated on a key map tablature.This piece is notated on a vertically oriented tablature called a key map. Key maps are intended to SHOW you (visually) which keys to play by matching (mapping) the locations of the keys on the keyboard. >>> The group of 12 keys from Middle C up to B form what we call the green Octave Group. (There are 7 of these identical groups on the piano distinguished by their colors and locations.) The key map staff is based on an octave group of the keyboard. For each key map octave group, the 5 vertical lines of the staff stand for the 5 matching black KEYS. >>> Staff lines ARE SPACED to match the horizontal spacing of the black keys on the keyboard The notes for black keys are placed ON these staff lines. The notes for the white keys are placed BETWEEN the lines. >>> The notes of a key map move to the left and right to indicate change in PITCH and down the page to indicate the passing of TIME (rhythm). The vertical length of each note is proportional to the time (in beats) that the sound requires.If you want to know more about this beautiful key map notation, you might consider reviewing our article describing how this notation works, entitled: Getting Started With Key Maps for the Piano. It contains an explanation of how key maps work and includes a number of examples. 16 pages. It is promotionally priced at only $1.99. (Actually, you can read the fist few pages simply by going to the look inside pages of the article.)
$2.00
1.83 €
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Piano seul
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Ludwig van Beethoven
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John M
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Beethoven - The Smaller Rondo in C Major -
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Music Innovators Workshop
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SheetMusicPlus
For All We Know
Piano grosses notes
Digital Download SKU: HX.449769 By Rod Stewart. Jazz,Pop,Standards. E-Z Play Today.…
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Digital Download SKU: HX.449769 By Rod Stewart. Jazz,Pop,Standards. E-Z Play Today. 2 pages. Published by Hal Leonard - Digital (HX.449769). About Hal Leonard E-Z Play TodayFor organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar.
$2.99
2.73 €
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Piano grosses notes
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Rod Stewart
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For All We Know
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Hal Leonard - Digital
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SheetMusicPlus
For All We Know
Piano grosses notes
Digital Download SKU: HX.454294 By The Carpenters. Love,Pop,Standards. E-Z Play Tod…
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Digital Download SKU: HX.454294 By The Carpenters. Love,Pop,Standards. E-Z Play Today. 3 pages. Published by Hal Leonard - Digital (HX.454294). About Hal Leonard E-Z Play TodayFor organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar.
$2.99
2.73 €
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Piano grosses notes
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The Carpenters
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For All We Know
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Hal Leonard - Digital
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SheetMusicPlus
For All We Know
Chorale SSAA
Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.872184 Composed by John Fr…
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Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.872184 Composed by John Frederick Coots. Arranged by Diane M. Clark. Barbershop. Octavo. 4 pages. Diane M. Clark #4572367. Published by Diane M. Clark (A0.872184). Women's barbershop ballad suitable for competition. (SSAA) Learning tracks available at Holli Houtz Music.
$1.99
1.82 €
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Chorale SSAA
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John Frederick Coots
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Diane M
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For All We Know
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Diane M. Clark
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SheetMusicPlus
For All We Know
Chorale SATB
Choral Choir (SATB) - Digital Download SKU: A0.798294 Composed by John Frederick Co…
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Choral Choir (SATB) - Digital Download SKU: A0.798294 Composed by John Frederick Coots. Arranged by Paul Hemmer. Contemporary. Octavo. 9 pages. PJMS MUSIC #5711181. Published by PJMS MUSIC (A0.798294). This 1934 ballad has been recorded by a host of artists including: Nat King Cole, Al Martino, The Andrews Sisters, Aretha Franklin, Billie Holiday, Crystal Gayle, Dinah Washington, Doris Day, Bette Midler, June Christy and Rosemary Clooney. This jazz choir arrangement is in medium tempo swing style. It features two smooth key changes, section soli for male and female and a colorful ending. The lyric is meaningful and the melody memorable. .
$3.99
3.64 €
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Chorale SATB
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John Frederick Coots
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Paul Hemmer
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a colorful ending
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For All We Know
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PJMS MUSIC
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SheetMusicPlus
For All We Know
Ensemble de cuivres
Brass Ensemble - Level 3 - Digital Download SKU: A0.884100 Composed by John Frederi…
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Brass Ensemble - Level 3 - Digital Download SKU: A0.884100 Composed by John Frederick Coots. Arranged by David Baptist. Contemporary. Score and parts. 6 pages. David Baptist #4799699. Published by David Baptist (A0.884100). This ballad style arrangements features a Horn solo throughout.
$12.99
11.86 €
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Ensemble de cuivres
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John Frederick Coots
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David Baptist
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For All We Know
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David Baptist
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SheetMusicPlus
Alleyways (A Christmas Song) (mp3)
Choir - Digital Download SKU: A0.1059288 Composed by David Warin Solomons. 20th Cen…
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Choir - Digital Download SKU: A0.1059288 Composed by David Warin Solomons. 20th Century,Christian,Christmas,Praise & Worship. Full Performance. Duration 155. David Warin Solomons #32941. Published by David Warin Solomons (A0.1059288). Score:https://www.sheetmusicplus.com/title/19982639?aff_id=175705Christmas Song for mixed choir (SATBB) performed by the Composer's Choir under Dan Shaw. A jaunty melody with countermelodies with words telling of children playing their games in the dusty streets (ie of Bethlehem) unaware that a miracle has happened and asking them to look up to the angels and join their singing: See the children playing in the dusty alleyways all the buildings round them give no hint of the miracle which happened in a tiny stable just close by Sing Nowell The time has come The time is here For God has come To visit us in the form of a baby called Jesus See the children playing in the dusty alleyways They don't know the miracle happened in their very midst They don't see the angels hovering overhead They don't hear the angels singing singing praises They are playing their own games of mirth so carefree. [Soprano descant] The angels hover unseen over the stable singing their praises They are just like everyone engrossed in their own lives Never looking up to the sky where angels sing [Soprano descant] Sing Alleluia... and the children do not hear oh children you do not hear and the children do not know oh children you do not know the great and mighty wonder the full and blessèd cure Jesus is God incarnate Children hear! Rise now from the dusty streets and noisy alleyways Come and see the wonder which is come to you Leave your games and join the great celestial choir of angels Sing Nowell The time is here the Word has come to visit us in the form of a baby called Jesus We were children playing in the dusty alleyways Now we know the miracle which happened in our very midst [Soprano descant] the angels hover unseen over the stable singing their praises Sing Alleluia... O Children sing!.
$2.30
2.1 €
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David Warin Solomons
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Alleyways
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David Warin Solomons
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SheetMusicPlus
For All We Know
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1321901 Composed by John Frederick …
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Piano Solo - Level 4 - Digital Download SKU: A0.1321901 Composed by John Frederick Coots and Sam M. Lewis. Arranged by John Fries. 20th Century,Jazz,Standards. Score. 2 pages. John Fries #910327. Published by John Fries (A0.1321901). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Â You can also type John Fries in the searchbar to see all I have to offer. Thanks, John. Â This version was inspired by Marian McPartland. For All We Know is a popular song published in 1934, with music by J. Fred Coots and lyrics by Sam M. Lewis. Popular versions in 1934 were by Hal Kemp (vocal by Skinnay Ennis), the Carpenters, and Isham Jones (vocal by Joe Martin).
$5.99
5.47 €
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Piano seul
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John Frederick Coots and Sam M
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John Fries
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For All We Know
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John Fries
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SheetMusicPlus
For All We Know
Chorale SATB
Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1141647 Composed by…
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Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1141647 Composed by John Frederick Coots and Sam M. Lewis. Arranged by John Fries. 20th Century,Film/TV,Jazz,Standards. 6 pages. John Fries #741989. Published by John Fries (A0.1141647). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. This Vocal Jazz Ensemble arrangement was inspired by Marian McPartland's piano style. For All We Know is a popular song published in 1934, with music by J. Fred Coots and lyrics by Sam M. Lewis. Popular versions in 1934 were by Hal Kemp (vocal by Skinnay Ennis) and Isham Jones (vocal by Joe Martin).
$1.99
1.82 €
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Chorale SATB
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John Frederick Coots and Sam M
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John Fries
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For All We Know
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John Fries
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SheetMusicPlus
For All We Know
Chorale SATB
Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1141878 Composed by…
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Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1141878 Composed by John Frederick Coots and Sam M. Lewis. Arranged by John Fries. 20th Century,A Cappella,Film/TV,Jazz,Standards. 6 pages. John Fries #742268. Published by John Fries (A0.1141878). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. This Vocal Jazz Ensemble arrangement was inspired by Marian McPartland's piano style. For All We Know is a popular song published in 1934, with music by J. Fred Coots and lyrics by Sam M. Lewis. Popular versions in 1934 were by Hal Kemp (vocal by Skinnay Ennis) and Isham Jones (vocal by Joe Martin).
$1.99
1.82 €
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Chorale SATB
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John Frederick Coots and Sam M
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John Fries
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For All We Know
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John Fries
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SheetMusicPlus
For All We Know
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1202003 Composed by J…
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Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1202003 Composed by John Frederick Coots and Sam M. Lewis. Arranged by John Fries. 20th Century,Jazz,Standards. Score. 2 pages. John Fries #800621. Published by John Fries (A0.1202003). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. Thanks, John. This version was inspired by Marian McPartland. For All We Know is a popular song published in 1934, with music by J. Fred Coots and lyrics by Sam M. Lewis. Popular versions in 1934 were by Hal Kemp (vocal by Skinnay Ennis) and Isham Jones (vocal by Joe Martin).
$4.99
4.55 €
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Piano, Voix et Guitare
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John Frederick Coots and Sam M
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John Fries
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For All We Know
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John Fries
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SheetMusicPlus
For All We Know
Chorale SATB
Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1142393 Composed by…
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Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1142393 Composed by John Frederick Coots and Sam M. Lewis. Arranged by John Fries. 20th Century,Jazz,Standards. 6 pages. John Fries #742766. Published by John Fries (A0.1142393). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. This Vocal Jazz Ensemble arrangement was inspired by Marian McPartland's piano style. For All We Know is a popular song published in 1934, with music by J. Fred Coots and lyrics by Sam M. Lewis. Popular versions in 1934 were by Hal Kemp (vocal by Skinnay Ennis) and Isham Jones (vocal by Joe Martin).
$1.99
1.82 €
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Chorale SATB
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John Frederick Coots and Sam M
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John Fries
#
For All We Know
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John Fries
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SheetMusicPlus
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