English version
Parcourir Free-scores.com
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Get It Right Next Time
Non classifié
6
Piano & claviers
Piano, Voix et Guitare
6
Piano seul
6
Piano Facile
2
1 Piano, 4 mains
2
Guitares
Paroles et Accords
1
Ukulele
1
Voix
Chorale 2 parties
2
Chorale SATB
1
Voix duo, Piano
1
Chorale TTBB
1
Vents
Quintette de Clarinettes: 5 clarinettes
2
Quatuor de Flûtes : 4 flûtes
1
Flûte, Hautbois, Clarinette, Basson
1
Saxophone Soprano et Piano
1
Flûte traversière et Piano
1
Saxophone Tenor et Piano
1
Quatuor de Saxophones: 4 saxophones
1
Hautbois, Piano (duo)
1
+ 3 instrumentations
Retracter
Cuivres
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
Cor et Piano
1
Quatuor de Cuivres
1
Trompette, Euphonium (duo)
1
Trompette, Piano
1
2 Tubas (duo)
1
+ 1 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
2
Violon
1
Alto, Piano
1
Orchestre & Percussions
Orchestre
1
Piano et Orchestre
1
Ensemble de cuivres
1
Autres
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
Page d'accueil
Instrumentations
Top Téléchargements
Compositeurs
Nouveautés
Partitions de Noël
Genres Musicaux
Genres Musicaux
Autres Services
Autres Services
Top 100
Portées musicales
Metronome
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions Gratuites
18
Partitions Numériques
51
Librairie Musicale
75
Matériel de Musique
54
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← INSTRUMENTATIONS
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Vous avez sélectionné:
Get It Right Next Time
Partitions à imprimer
51 partitions trouvées
<
1
26
51
Get It Right Next Time
Quatuor de Cuivres
Brass Quartet Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1233833 Co…
(+)
Brass Quartet Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1233833 Composed by Gerald Rafferty. Arranged by Jeff Tincher. Contemporary,Pop,Rock. 40 pages. Jeff Tincher #829397. Published by Jeff Tincher (A0.1233833). Here is Gerry Rafferty's single from his third studio album Night Owl. In the original key, this is a nice pop song with a shuffle rhythm. Duration = 5:13. Visit my websites: https://jefftincher.wixsite.com/sheetmusic, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing/.
$12.99
11.98 €
#
Quatuor de Cuivres
#
Gerald Rafferty
#
Jeff Tincher
#
Get It Right Next Time
#
Jeff Tincher
#
SheetMusicPlus
Get It Right Next Time
Quatuor de Saxophones: 4 saxophones
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Te…
(+)
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 2 - Digital Download SKU: A0.1233830 Composed by Gerald Rafferty. Arranged by Jeff Tincher. Contemporary,Pop,Rock. 41 pages. Jeff Tincher #829394. Published by Jeff Tincher (A0.1233830). Here is Gerry Rafferty's single from his third studio album Night Owl. In the original key, this is a nice pop song with a shuffle rhythm. Duration = 5:13. Visit my websites: https://jefftincher.wixsite.com/sheetmusic, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing/.
$12.99
11.98 €
#
Quatuor de Saxophones: 4 saxophones
#
Gerald Rafferty
#
Jeff Tincher
#
Get It Right Next Time
#
Jeff Tincher
#
SheetMusicPlus
Get It Right Next Time
Flûte, Hautbois, Clarinette, Basson
Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 2 - Digital Downloa…
(+)
Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 2 - Digital Download SKU: A0.1233832 Composed by Gerald Rafferty. Arranged by Jeff Tincher. Contemporary,Pop,Rock. 41 pages. Jeff Tincher #829396. Published by Jeff Tincher (A0.1233832). Here is Gerry Rafferty's single from his third studio album Night Owl. In the original key, this is a nice pop song with a shuffle rhythm. Duration = 5:13. Visit my websites: https://jefftincher.wixsite.com/sheetmusic, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing/.
$12.99
11.98 €
#
Flûte, Hautbois, Clarinette, Basson
#
Gerald Rafferty
#
Jeff Tincher
#
Get It Right Next Time
#
Jeff Tincher
#
SheetMusicPlus
Get It Right Next Time
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1233827 Composed by G…
(+)
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1233827 Composed by Gerald Rafferty. Arranged by Jeff Tincher. Contemporary,Pop,Rock. Score. 14 pages. Jeff Tincher #829391. Published by Jeff Tincher (A0.1233827). Here is Gerry Rafferty's single from his third studio album Night Owl. In the original key, this is a nice pop song with a shuffle rhythm. Duration = 5:13. Visit my websites: https://jefftincher.wixsite.com/sheetmusic, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing/.
$5.99
5.52 €
#
Piano, Voix et Guitare
#
Gerald Rafferty
#
Jeff Tincher
#
Get It Right Next Time
#
Jeff Tincher
#
SheetMusicPlus
Get It Right Next Time
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,String Quartet,Viola,Violin - Level 2 - Digital Download SKU: A0.1…
(+)
String Quartet Cello,String Quartet,Viola,Violin - Level 2 - Digital Download SKU: A0.1233829 Composed by Gerald Rafferty. Arranged by Jeff Tincher. Contemporary,Pop,Rock. 41 pages. Jeff Tincher #829393. Published by Jeff Tincher (A0.1233829). Here is Gerry Rafferty's single from his third studio album Night Owl. In the original key, this is a nice pop song with a shuffle rhythm. Duration = 5:13. Visit my websites: https://jefftincher.wixsite.com/sheetmusic, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing/.
$12.99
11.98 €
#
Quatuor à cordes: 2 violons, alto, violoncelle
#
Gerald Rafferty
#
Jeff Tincher
#
Get It Right Next Time
#
Jeff Tincher
#
SheetMusicPlus
Happy Together
Chorale 2 parties
Choral 2-Part Chorus,Choir,Choral - Level 1 - Digital Download SKU: A0.1447418 By T…
(+)
Choral 2-Part Chorus,Choir,Choral - Level 1 - Digital Download SKU: A0.1447418 By The Turtles. By Alan Gordon and Garry Bonner. Arranged by C. Speck. 20th Century,Pop,Rock. 6 pages. Carl Speck #1027198. Published by Carl Speck (A0.1447418). Brighten up your next performance with this delightful 2-part vocal arrangement of Happy Together by The Turtles! This arrangement captures the sunny and infectious spirit of the 1967 hit, providing a fun and engaging experience for singers of all ages and abilities.Classical and Contemporary FusionThis arrangement retains the cheerful and whimsical charm of the original while incorporating simple harmonies and rhythms. It's the perfect blend for those who love the classic tune but enjoy a contemporary twist.Perfect for BeginnersWith its simple, catchy melodies and straightforward harmonies, this arrangement is ideal for beginners. Even novice singers will find it easy to learn and enjoyable to perform, making it accessible to everyone.Choir FunPerfect for choirs of any size, this arrangement features lively and harmonious parts that will get your group singing with enthusiasm. Whether you're in a school choir, community group, or just harmonizing with friends, it's a fantastic choice for a joyful group performance.Great for Holidays and Special EventsWhile not a traditional holiday song, its upbeat and happy vibe makes it a fantastic addition to any special event or concert. Its infectious melody and feel-good lyrics are sure to bring smiles to any audience.Kid-FriendlyWith simple, playful lyrics and melodies, this arrangement is perfect for young singers. It’s a great choice for school music programs and youth choirs, making it fun and easy for kids to enjoy singing together.Piano Accompaniment IncludedThe vocal parts are paired with a lively piano accompaniment that enhances the overall performance. The piano keeps things lively and supports the singers, ensuring that the fun never stops!Instant PDF DownloadNeed the sheet music right away? No problem! This arrangement is available for instant PDF download, so you can get your hands on it quickly and start rehearsing. Easy access means more time for fun!This 2-part vocal arrangement of Happy Together by The Turtles is a cheerful and entertaining addition to any performance repertoire. Whether you’re an experienced singer or just starting out, this arrangement will bring joy and energy to your singing, delighting both you and your audience. Get ready to spread happiness and enjoy the timeless music of The Turtles with a fun, modern twist!
$2.99
2.76 €
#
Chorale 2 parties
#
The Turtles
#
C
#
Happy Together
#
Carl Speck
#
SheetMusicPlus
Get It Right Next Time by Gerry Rafferty - Piano/Vocal/Guitar, Singer Pro
Piano, Voix et Guitare
Performed by: Gerry Rafferty: Get It Right Next Time Digital Sheetmusic - instantly downlo…
(+)
Performed by: Gerry Rafferty: Get It Right Next Time Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal/Guitar;Singer Pro, instruments: Voice;Piano;Guitar; 4 pages -- Folk-Rock~~Pop Rock~~Singer-Songwriter~~Soft Rock
$5.50
5.07 €
#
Piano, Voix et Guitare
#
Gerry Rafferty
#
Piano/Vocal/Guitar, Singer Pro
#
Musicnotes
Let It Be
Choral Alto Voice,Bass Voice,Double Bass,Piano and Keyboard,Soprano voice,Tenor Voice,Viol…
(+)
Choral Alto Voice,Bass Voice,Double Bass,Piano and Keyboard,Soprano voice,Tenor Voice,Viola,Violin - Level 3 - Interactive Download SKU: A0.481914 By The Beatles. By John Lennon and Paul McCartney. Arranged by Jeremy Nafziger. This edition: Interactive Download. Christmas. Octavo. Duration 286. Jeremy Nafziger #6Re335EyhndYxZ7ALSuj10. Published by Jeremy Nafziger (A0.481914). Key: C major.The Beatles classic with the Advent hymn, In Dulci Jubilo. Both texts come from dreams, and this winds up a meaningful combination. In Dulci was written in the 14th century by German monk and teacher Heinrich Suso (or Seuse), who writes in his third-person autobiography about a dream he had: Now this same angel came up to the Servant [Suso] brightly, and said that God had sent him down to him, to bring him heavenly joys amid his sufferings; adding that he must cast off all his sorrows from his mind and bear them company, and that he must also dance with them in heavenly fashion. Then they drew the Servant by the hand into the dance, and the youth began a joyous song about the infant Jesus, which runs thus: In dulci jubilo... About 650 years later, in 1968, Paul McCartney was staying out late, drinking too much, and thinking that the Beatles were probably going to break up soon. Then one night, somewhere between deep sleep and insomnia, I had the most comforting dream about my mother, who died when I was only 14. She had been a nurse, my mum, and very hardworking, because she wanted the best for us.... At night when she came home, she would cook, so we didn’t have a lot of time with each other. But she was just a very comforting presence in my life. And when she died, one of the difficulties I had, as the years went by, was that I couldn’t recall her face so easily.... So in this dream twelve years later, my mother appeared, and there was her face, completely clear, particularly her eyes, and she said to me very gently, very reassuringly: “Let it be.†It was lovely. I woke up with a great feeling. It was really like she had visited me at this very difficult point in my life and gave me this message: Be gentle, don’t fight things, just try and go with the flow and it will all work out. His mother's name was Mary, or course. He wrote the song in the next few days, and it was released on the album on the same name in 1970, a month after the Beatles split up. As for the actual texts, they're very different. In Dulci is macaronic (alternating between two languages, in this case Latin and a translation from Medieval German) and ecstatic; Let It Be is English and more subdued. In this version, we alternate between the two but keep the Let It Be structure, except for a diversion in the middle where the well-known Bach setting is adopted as kind of an interlude. The two texts and melodies are sung together in the last verse (the fourth In Dulci verse and the third Let It Be verse), where both are talking about music.
$3.99
3.68 €
#
The Beatles
#
Jeremy Nafziger
#
Let It Be
#
Jeremy Nafziger
#
SheetMusicPlus
Next Sunday Afternoon
Ob. Pft. - Intermediate - Digital Download SKU: F2.FM534 Composed by Cormac Dorrian…
(+)
Ob. Pft. - Intermediate - Digital Download SKU: F2.FM534 Composed by Cormac Dorrian. Oboe and Piano. Score and Part. 11 pages. Forton Music - Digital #FM534. Published by Forton Music - Digital (F2.FM534). ISBN 9790570484331.A lovely, melodic tune over rich, tonal chords opens this piece. The central section becomes a little more agitated, before the opening tunes return to bring the piece to a calm conclusion. This piece was written for my partner and myself to play. The reason I titled it 'Next Sunday Afternoon' was that her response every time I suggested we play something together was 'Not right now - how about next Sunday afternoon?'. For obvious reasons, this is dedicated to her.
$7.95
7.33 €
#
Cormac Dorrian
#
Next Sunday Afternoon
#
Forton Music - Digital
#
SheetMusicPlus
All This Night Bright Angels Sings (for Brass Quartet)
Quatuor de Cuivres: 2 trompettes, Cor, trombone
Brass Quartet Horn,Trombone,Trumpet - Level 2 - Digital Download SKU: A0.1288606 Co…
(+)
Brass Quartet Horn,Trombone,Trumpet - Level 2 - Digital Download SKU: A0.1288606 Composed by Sir Arthur Seymour Sullivan. Arranged by Andrew Lamb. Christmas. 45 pages. Andrew Lamb #879563. Published by Andrew Lamb (A0.1288606). Celebrate the holiday season in grand style with our brass quartet arrangement of the beloved Christmas carol, All This Night Bright Angels Sing, composed by the renowned Englishman, Arthur S. Sullivan. This timeless carol has been skillfully adapted for a brass quartet, bringing the joy and warmth of Christmas to your musical repertoire.Instrumentation is made easy with this arrangement, designed for 2 Bb Trumpets, French Horn, and Trombone. But what makes this adaptation truly versatile are the included alternative flexible parts for Tenor Horn, Baritone (Treble Clef), Euphonium (Treble Clef), Tuba, and Eb and Bb Basses. Whether you're performing in a concert band or brass band brass ensemble, this arrangement caters to your ensemble's specific needs.With an accessibility level marked as Easy, this arrangement is perfect for musicians of varying skill levels, making it an excellent choice for educational purposes. It's also ideal for concerts, recitals, or any festive occasion where you want to infuse the spirit of Christmas into your performance.The sweet, nostalgic melodies of All This Night Bright Angels Sing will transport your audience to a place of holiday wonder and joy. This arrangement captures the essence of the season, making it a must-have addition to your Christmas repertoire.Embrace the magic of Christmas with this delightful arrangement that brings together the harmonious sounds of brass instruments in celebration. Spread the holiday cheer with All This Night Bright Angels Sing and make your next Christmas performance unforgettable.
$6.00
5.53 €
#
Quatuor de Cuivres: 2 trompettes, Cor, trombone
#
Sir Arthur Seymour Sullivan
#
Andrew Lamb
#
All This Night Bright Angels Sings
#
Andrew Lamb
#
SheetMusicPlus
Get It Right Next Time
Piano, Voix et Guitare
By Gerry Rafferty. For piano, voice, and guitar (chords only). Pop; Rock. 4 pages. Publish…
(+)
By Gerry Rafferty. For piano, voice, and guitar (chords only). Pop; Rock. 4 pages. Published by Hal Leonard - Digital Sheet Music
$4.99
4.6 €
#
Piano, Voix et Guitare
#
Gerry Rafferty
#
Rock
#
Get It Right Next Time
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
Gerry Rafferty: Get It Right Next Time for voice, piano and guitar
Piano, Voix et Guitare
Instantly printable sheet music by Gerry Rafferty for voice, piano or guitar of MEDIUM ski…
(+)
Instantly printable sheet music by Gerry Rafferty for voice, piano or guitar of MEDIUM skill level. / pop,rock
$6.97
6.43 €
#
Piano, Voix et Guitare
#
Gerry Rafferty
#
Virtualsheetmusic
Etude in C, Le Couppey-Nolte
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.987083 Composed by Eric Paul Nolte …
(+)
Piano Solo - Level 5 - Digital Download SKU: A0.987083 Composed by Eric Paul Nolte and Felix Le Couppey. Arranged by Eric Paul Nolte. Contemporary,Instructional. Score. 5 pages. Eric Paul Nolte #1954995. Published by Eric Paul Nolte (A0.987083). This piece is a free adaptation and a complete reworking of a study by Felix Le Couppey (1811-1887), from his L'Agilité, Opus 20, 25 Progressive Studies for Mechanism and Light Touch. In its original form, this study was a charming little piece of musical fluff. But getting it up to speed reduced me to tears! It also gave me an epiphany of immense power that transformed my technique. Suddenly I could play faster than I had ever thought possible, and I could do so with a thrilling ease! This epiphany emerged from the spluttering frustration I felt over my inability to play these sixteenth notes at Le Couppey's metronome marking of 144. It dawned on me that I couldn’t play fast enough because I was tripping over my own fingers when I used the overly articulated technique of moving the fingers by the lift, throw, relax method. This superfluous motion creates an impenetrable barrier, a speed wall, as does playing legato scales by passing the thumb under the palm, when shifting hand position up and down the keyboard. So I found another way-which I’ve since learned was known to every pianist who ever achieved prodigious speed. Here’s how to bring this piece up to speed with ease: Be sure to practice this piece with each hand alone. For each group of sixteenth notes, gently place the four fingers down simultaneously, to get the feel. Think of your arm, from elbow to fingertips, as something like a kitchen utensil, such as a spatula. Moving your right arm as a unit, place your finger tips down into the key bed, depressing all four notes at once, as a block chord. Make sure that all the fingers remain stiff (not rigid with tension, but just stiff enough to resist collapsing upwards.) Slowly lift and then play each group by placing all the fingers down with a rotation of your forearm, calm and relaxed, with the fingers rolling through the notes at the speed of a brief snare drum roll: Rrrrip! To rip through this group of notes like this takes no more effort than to place those four fingers down, calmly, all at once! Then, with a quick shift up or down the keyboard to get into position for the next group, that’s the whole trick for playing such passages with astonishing speed and ease! It takes time and effort to get the knack here, but the result can be transformative and thrilling! As for my adaptation of this study, I believe it offers intermediate advanced players the chance to enjoy a great leap in technique like the one I experienced, and also offers a piece of music that one might not blush to play outside the practice room-perhaps bringing it at least into the living room for a soirée, if not into the concert hall. To make this adaptation, I wrote a grumbly bass line with lungs, and nice fat chords to flesh out most of the skinny little triads that accompany the original study’s fast passages. I added a brooding, chromatic introduction that features as a melody the accompanimental figure of a broken triad that Le Couppey wrote a few times on the second page, in various inversions. I employed this broken chord figure several more times in both hands, and also added a little coda, sprinkled with sparkle. Playing time is about 1 minute and 30 seconds.
$3.99
3.68 €
#
Piano seul
#
Eric Paul Nolte and Felix Le Couppey
#
Eric Paul Nolte
#
Etude in C, Le Couppey-Nolte
#
Eric Paul Nolte
#
SheetMusicPlus
Because He Lives
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1510395 Composed by B…
(+)
Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1510395 Composed by Bill Gaither and Gloria Gaither. Arranged by Mikhail Rimsky-Korsakov. Christian,Praise & Worship,Religious,Sacred,Spiritual. Score. 32 pages. MRK Studio #1085584. Published by MRK Studio (A0.1510395). Because He Lives is a classic song (hymn) penned by one of the most lauded couples in Christian music, Bill and Gloria Gaither. This song explores how the resurrection of Christ transforms the lives of believers. At this song's 50th anniversary, in honor of this legacy milestone, Gaither Music Group has initiated a yearlong celebration highlighting numerous performances of the song across many different platforms and genres. First released on October 18, 1971, this song was, and is, one of the most popular songs written by the Gospel Music Hall of Fame members. “People have asked me, ‘Did you know right away that it was going to be a song that was going to be translated in other languages?’” stated Bill. “When you create a new song—and you write as many as we have–you really don’t know. Many times you write one and you think it is going to be the next ‘Amazing Grace,’ and it just dies a natural death. When we wrote ‘Because He Lives’ I felt like it was a good song, but you only find out how good a song is when people start responding to it, and the more we sang it the more people responded. I’m humbled it has been translated into so many languages and did not foresee that.”, he added.Read more here This song was commissioned by a South African Baritone Soloist, Johann Nefdt, to be performed by a Baritone Soloists, 2 Violins, Piano and Pipe Organ. All parts are included in the sale. This arrangement was produced using Dorico 5..1 & NotePerformer 4.5 My arrangements are custom made for any ensemble required and voiced specifically for their instrumentation. Ergo, feel free to contact me should you require any music arranged for your ensemble. I voice it with the tonal colors of your instrumentation (keeping in mind the strong and weaker musicians) to bring the most out of your performance! The best part is, you get it right here from this music publisher for ease of mind! Enquire here for Arrangements / Composition or Publishing requests.
$15.00
13.83 €
#
Piano, Voix et Guitare
#
Bill Gaither and Gloria Gaither
#
Mikhail Rimsky-Korsakov
#
NotePerformer 4
#
Because He Lives
#
MRK Studio
#
SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
(+)
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
22.12 €
#
Piano et Orchestre
#
Gyorgy Ligeti (1923-2006)
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
The Story Of Reuben Clamzo & His Strange Daughter
Chorale TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…
(+)
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
3.68 €
#
Chorale TTBB
#
Arlo Guthrie
#
Craig Hanson
#
The Story Of Reuben Clamzo & His Strange Daughter
#
Edition Craig Hanson
#
SheetMusicPlus
DELTARUNE Chapter 2 Piano Score - from the game
Piano Facile
Easy Piano - Level 2 - Digital Download SKU: A0.1200295 By Toby Fox. By Toby Fox. A…
(+)
Easy Piano - Level 2 - Digital Download SKU: A0.1200295 By Toby Fox. By Toby Fox. Arranged by Sydney Kjerstad. Video Game. Score. 96 pages. Materia Editions #799104. Published by Materia Editions (A0.1200295). All 47 songs from the DELTARUNE, Chapter 2 soundtrack. Composed by Toby Fox, adapted by Sydney Kjerstad.Making the Deltarune Piano Score series a little more complete, here’s DELTARUNE Chapter 2’s music finally in book form! Just like the music from the first chapter, each of the pieces here are varying levels of difficulty, but all are within your reach. Go in order, go out of order, play through the book how you want!You will strengthen your abilities and come out even better on the other side. Play this music for you, for your friends and family, and show off what makes this music so  special. Please enjoy! I know I did when adapting it all!- Sydney KjerstadCREDITSDELTARUNE Piano Score is brought to you by:TOBY FOX is the musical dog that made DELTARUNE.SYDNEY KJERSTAD is a video-gaming-piano-playing nerd whose goal in life is to make game music accessible for everyone. A Materia Editions Production.TRACKLIST Faint Glow Girl Next Door My Castle Town Ohhhhohohoho! Queen A CYBER'S WORLD? A Simple Diversion Almost to the Guys! Cool Beat When I Get Mad I Dance Like This Cyber Battle (Solo) When I Get Happy I Dance Like This Sound Studio Berdly Smart Race Faint Courage (Game Over) WELCOME TO THE CITY Mini Studio Holiday Studio Cool Mixtape HEY EVERY ! Spamton NOW'S YOUR CHANCE TO BE A Elegant Entrance Bluebird of Misfortune Pandora Palace KEYGEN Acid Tunnel of Love It's Pronounced Rules Lost Girl Ferris Wheel Attack of the Killer Queen Giga Size Powers Combined Knock You Down !! The Dark Truth Digital Roots Deal Gone Wrong BIG SHOT A Real Boy! Dialtone sans. Chill Jailbreak Alarm to Study and Relax to You Can Always Come Home Until Next Time Before the Story Berdly (Rejected Concept) Music by Toby Fox. © 2015-2021 ROYAL SCIENCES LLC. Arrangements © 2023 Materia Editions / Materia Music Inc. All rights reserved. Used by permission. No part of this book shall be reproduced, arranged, adapted, recorded, publicly performed, or transmitted by any means without written permission by the publisher.
$19.99
18.43 €
#
Piano Facile
#
Toby Fox
#
Toby Fox
, adapted by
Sydney Kjerstad
#
Sydney Kjerstad
#
DELTARUNE Chapter 2 Piano Score - from the game
#
Materia Editions
#
SheetMusicPlus
The Westwood Harmonic Summer Dance
Violon
Violin Solo - Level 3 - Digital Download SKU: A0.1022489 Composed by Jacob Litoff. …
(+)
Violin Solo - Level 3 - Digital Download SKU: A0.1022489 Composed by Jacob Litoff. World. 2 pages. Jacob Litoff #2013711. Published by Jacob Litoff (A0.1022489). I wrote this piece as I was trying to figure out all the harmonics on the violin on a hot day in June 1999. The first section represents all the cars that I heard in the morning rush hour on their way to work on that hot summer day driving up route 1, route 1A, and route 95. Section A represents all those people busy at work in the morning trying to turn the world upside down. First the melody is right side up, then it is upside down. They're in air conditioned buildings of course! Then the opening section gets played once again, this time representing everyone going out in the hot weather for lunch and to do a few errands as fast as possible. Next comes section B. If one wants to leave out the bottom harmonic at the beginning of the measures 1, 2, & 3, in lines 1, 3 and 4, that makes it a little easier, but it is nice when both notes can be played. This section is work after lunch. It is supposed to go a little slower, for everyone is getting bogged down with to many assignments and they're starting to get exhausted. Then comes the opening section one last time. This time it is rush hour on the way home, and all the errands that must be done, like taking kids to soccer practice, ballet , tap dancing and violin lessons(or whatever) and trying to fix dinner or grab a pizza somewhere in there. Just before getting to the end of the section this time at the sign jump to the coda, and here it can slow down just a little for this is one collapsing at the end of the day when everything is over.
$5.00
4.61 €
#
Violon
#
Jacob Litoff
#
The Westwood Harmonic Summer Dance
#
Jacob Litoff
#
SheetMusicPlus
After You’ve Gone
Ensemble de cuivres
Brass Ensemble - Level 4 - Digital Download SKU: A0.808682 Composed by Turner Layto…
(+)
Brass Ensemble - Level 4 - Digital Download SKU: A0.808682 Composed by Turner Layton (1894-1978), Henry Creamer (1879-1930). Arranged by F. Leslie Smith. Holiday,Jazz,Pop. Score and parts. 32 pages. Sweetwater Brass Press #3454039. Published by Sweetwater Brass Press (A0.808682).     After You’ve Gone, composed in 1918 by Turner Layton (melody) and Henry Creamer (lyrics), was a hit from the beginning. Al Jolson introduced it to live audiences, Marion Harris’ record went to #1 in early 1919, and since then dozens of artists have recorded it . . . and many are still doing so. The words are rather sad-she’s leaving and he’s trying to get her to stay-but played up tempo, the melody is bouncy and fun. That sad-versus-happy dichotomy is incorporated in this arrangement. It begins with a bright, bouncy introduction and first-time-through of the chorus, then slows so the Horn in F can play a melancholic and somewhat schmaltzy rendition of the verse. The Tuba provides a transition back to the upbeat chorus, and we are again off to the races. Layton’s melody slips and slides from one instrument to the next (with the Tuba getting an entire iteration all to itself!), until the pace again slows for a 4-bar reminder of the sentimental verse, which then gives way to a rousing Dixieland-like closing.
$7.95
7.33 €
#
Ensemble de cuivres
#
Turner Layton
#
F
#
After You’ve Gone
#
Sweetwater Brass Press
#
SheetMusicPlus
Boat
Paroles et Accords
Guitar - Level 2 - Digital Download SKU: A0.1229679 By Ed Sheeran. By Aaron Dessner…
(+)
Guitar - Level 2 - Digital Download SKU: A0.1229679 By Ed Sheeran. By Aaron Dessner and Ed Sheeran. Arranged by Barry McCormick. Pop,Singer/Songwriter. Chords/Lyrics. 2 pages. B. McCormick #825446. Published by B. McCormick (A0.1229679). Elevate your performance with Ed Sheeran's Boat sheet music from his highly anticipated album Subtract. The song Boat is a poignant ballad that speaks to the heart. As Independent.co.uk writes, it's a powerful meditation on depression and hope. With this sheet music, you can bring this emotional power to your performance and really connect with your audience. This sheet music also has everything you need for a successful performance. Whether you're playing with a small group or solo, you'll have all the tools you need to create a beautiful and moving rendition of Boat. And with its digital format, you can practice anytime, anywhere, on any device. So don't miss out on this amazing opportunity to take your performance to the next level. Get Ed Sheeran's Boat sheet music today! Notes about the music This lead sheet makes it simple to get the information from the music that you need. The melody along with the chords give you all the information you need in its minimal form to create a performance. To make this piece more accessible I have arranged it in the key of G Major which is a third below the recorded version which is in B Major. This makes the higher notes more attainable to sing for a more people and makes it easier to play for most. Who likes playing with 5 sharps?! Structure With the repeats and D.S. markings this Lead Sheet will follow the form as heard on the recording. Melody As with all my arrangements, to try and minimise the number of pages needed, the small note heads in brackets indicate where the melody is different when repeated and these notes should be played/sung on the appropriate verse. The melismatic phrase on boat at the end of bar 37 is a simplification of what is sung on the recording and the performer is free to amend as it suits them. Alternatives. I have different versions of this piece which may suit different performers/instrumentalists more. All my versions are: Voice Piano and Guitar - Melody on its own stave with guitar chords above it and a piano accompaniment underneath; Voice Piano and Guitar - As above but the melody is combined with the right hand of the piano part; Guitar Lead Sheet - Melody with guitar chords; Ukulele Lead Sheet - Melody with Ukulele chords. Just click on the publisher link above or below this description which will take you to all my arrangements. About Ed Sheeran Ed Sheeran is one of the most successful and influential singer-songwriters of our time. He has released six studio albums, all of which have reached number one in the UK charts, and his songs have been streamed billions of times around the world. His songwriting style blends elements from folk, pop, hip-hop, and R&B to create a unique sound that resonates deeply with fans. With an ear for catchy hooks and clever lyrics, Ed Sheeran has crafted some of the biggest hits over recent years including Shape Of You, Thinking Out Loud, and Perfect. His music offers something for everyone as it combines soulful ballads with upbeat dance tracks. A true musical genius who continues to break boundaries in popular music today!
$1.99
1.83 €
#
Paroles et Accords
#
Ed Sheeran
#
Barry McCormick
#
Boat
#
B. McCormick
#
SheetMusicPlus
Boat
Ukulele
Ukulele - Level 2 - Digital Download SKU: A0.1229682 By Ed Sheeran. By Aaron Dessne…
(+)
Ukulele - Level 2 - Digital Download SKU: A0.1229682 By Ed Sheeran. By Aaron Dessner and Ed Sheeran. Arranged by Barry McCormick. Pop,Singer/Songwriter. Score (Chords/Lyrics). 2 pages. B. McCormick #825449. Published by B. McCormick (A0.1229682). Elevate your performance with Ed Sheeran's Boat sheet music from his highly anticipated album Subtract. The song Boat is a poignant ballad that speaks to the heart. As Independent.co.uk writes, it's a powerful meditation on depression and hope. With this sheet music, you can bring this emotional power to your performance and really connect with your audience. This sheet music also has everything you need for a successful performance. Whether you're playing with a small group or solo, you'll have all the tools you need to create a beautiful and moving rendition of Boat. And with its digital format, you can practice anytime, anywhere, on any device. So don't miss out on this amazing opportunity to take your performance to the next level. Get Ed Sheeran's Boat sheet music today! Notes about the music This lead sheet with Ukulele Chords makes it simple to get the information from the music that you need. The melody along with the chords give you all the information you need in its minimal form to create a performance. To make this piece more accessible I have arranged it in the key of G Major which is a third below the recorded version which is in B Major. This makes the higher notes more attainable to sing for a more people and makes it easier to play for most. Who likes playing with 5 sharps?! Structure With the repeats and D.S. markings this Lead Sheet will follow the form as heard on the recording. Melody As with all my arrangements, to try and minimise the number of pages needed, the small note heads in brackets indicate where the melody is different when repeated and these notes should be played/sung on the appropriate verse. The melismatic phrase on boat at the end of bar 37 is a simplification of what is sung on the recording and the performer is free to amend as it suits them. Alternatives. I have different versions of this piece which may suit different performers/instrumentalists more. All my versions are: Voice Piano and Guitar - Melody on its own stave with guitar chords above it and a piano accompaniment underneath; Voice Piano and Guitar - As above but the melody is combined with the right hand of the piano part; Guitar Lead Sheet - Melody with guitar chords; Ukulele Lead Sheet - Melody with Ukulele chords. Just click on the publisher link above or below this description which will take you to all my arrangements. About Ed Sheeran Ed Sheeran is one of the most successful and influential singer-songwriters of our time. He has released six studio albums, all of which have reached number one in the UK charts, and his songs have been streamed billions of times around the world. His songwriting style blends elements from folk, pop, hip-hop, and R&B to create a unique sound that resonates deeply with fans. With an ear for catchy hooks and clever lyrics, Ed Sheeran has crafted some of the biggest hits over recent years including Shape Of You, Thinking Out Loud, and Perfect. His music offers something for everyone as it combines soulful ballads with upbeat dance tracks. A true musical genius who continues to break boundaries in popular music today!
$1.99
1.83 €
#
Ukulele
#
Ed Sheeran
#
Barry McCormick
#
Boat
#
B. McCormick
#
SheetMusicPlus
Boat
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1229673 By Ed Sheeran…
(+)
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1229673 By Ed Sheeran. By Aaron Dessner and Ed Sheeran. Arranged by Barry McCormick. Pop,Singer/Songwriter. Score. 4 pages. B. McCormick #825438. Published by B. McCormick (A0.1229673). Elevate your performance with Ed Sheeran's Boat sheet music from his highly anticipated album Subtract. The song Boat is a poignant ballad that speaks to the heart. As Independent.co.uk writes, it's a powerful meditation on depression and hope. With this sheet music, you can bring this emotional power to your performance and really connect with your audience. This sheet music also has everything you need for a successful performance. Whether you're playing with a small group or solo, you'll have all the tools you need to create a beautiful and moving rendition of Boat. And with its digital format, you can practice anytime, anywhere, on any device. So don't miss out on this amazing opportunity to take your performance to the next level. Get Ed Sheeran's Boat sheet music today! Notes about the music This digital sheet music includes the melody on a separate stave, a piano accompaniment, and a short intro, making it perfect for piano instrumentalists, singers, and small groups. To make this piece more accessible I have arranged it in the key of G Major which is a third below the recorded version which is in B Major. This makes the higher notes more attainable to sing for a more people and makes it easier to play for most. Who likes playing with 5 sharps?! Structure In this arrangement there is a slight variation from the structure from the Subtract Recording. As mentioned above a short intro is included which is the melody from the end of the chorus. After this the repeats and D.S markings will follow the form as heard on the recording. On the final chorus rather than playing the bass as written and played for the previous occurrences just playing simple sustained root notes of the chord to bring it all back and give the melody some space for the last time through, this would emulate the feeling in the recording. Melody As with all my arrangements, to try an minimise the number of pages needed, the small note heads in brackets indicate where the melody is different when repeated and these notes should be played/sung on the appropriate verse. The melismatic phrase on boat at the end of bar 37 is a simplification of what is sung on the recording and the performer is free to amend as it suits them. Piano The piano follows a simple chordal harmony and rhythm, the most complicated coming on the final page but this is simply the chord broken up in a way to give more momentum to this section. If you would like a version where the melody is in the right hand of the piano I also have an arrangement of this as a piano reduction which combines the melody with the right hand of the piano part here with some modifications for playability. Alternatives. I have different versions of this piece which may suit different performers/instrumentalists more. All my versions are: Voice Piano and Guitar - Melody on its own stave with guitar chords above it and a piano accompaniment underneath; Voice Piano and Guitar - As above but the melody is combined with the right hand of the piano part; Guitar Lead Sheet - Melody with guitar chords; Ukulele Lead Sheet - Melody with Ukulele chords.
$4.99
4.6 €
#
Piano, Voix et Guitare
#
Ed Sheeran
#
Barry McCormick
#
Boat
#
B. McCormick
#
SheetMusicPlus
Haydn Piano Sonata 40.1 Allegretto innocente (Classical Music for Tablet Series)
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.818282 By Stephen R Dalrymple. By F…
(+)
Piano Solo - Level 3 - Digital Download SKU: A0.818282 By Stephen R Dalrymple. By Franz Joseph Haydn. Arranged by edited by Stephen R Dalrymple (Dalrymple Designs). Classical. Score. 17 pages. Stephen R Dalrymple #4967137. Published by Stephen R Dalrymple (A0.818282). Franz Joseph Haydn was born in 1732 in a small village in Austria, near the Hungarian border. ♫ His father was a wheelwright and a leader of the town. His mother had been a cook in the palace of a Count. His father had taught himself to play the harp. His family was musical and often sang together (16 brothers and sisters). His father saw that he was extremely musical and that he couldn’t get the education he needed in his little village. When he was 6 years old, he was sent to the home of a relative about 7 miles away to study to be a musician. He never lived with his parents again. ♫ In 1752 he was employed by Count Karl Joseph Morzin, leading the Count’s small orchestra and writing the first of his symphonies. ♫ In 1760 he married Maria Keller. They had a very unhappy marriage, producing no children. ♫ In 1760 Count Paul Andre Esterhazy (one of the wealthiest and most important nobles in the Austrian empire) hired him as assistant director of music. In 1766 at the age of 34, Prince Nikolaus Esterhazy appointed Haydn his Director of Music. His job was divided between the Esterhazy palace in Austria their palace across the border Hungary. ♫ Haydn dedicated Piano Sonata 40 to Princess Marie Esterhazy. He worked for the Esterhazys for the next 28 years, writing hundreds of pieces of music for the prince. After about 15 years, he signed a new contract allowing him to write music for other customers. Haydn’s reputation grew to international fame. ♫ Haydn wrote 104 Symphonies. Not unlike George Washington, nicknamed the “Father of our Countryâ€, yet had no children, Haydn is known as the “Father of the Symphony.†♫ Napoleon captured Vienna in 1809. Napoleon, himself, ordered an honor guard be placed at Haydn’s home where Haydn lay dying. ♫ The Classical Music for Tablet Series offers piano masterworks by classical composers formatted to be read on 10 inch tablets. I use an Amazon Kindle with Mobile Sheets Pro and an Air Turn blue tooth foot pedal to practice and perform piano music. Similar products available to provide other tablets the same functionality. ♫ The pieces in this series have not been arranged, but most have been edited slightly, and have been formatted to fit this screen size. For example, in the tablet versions, first and second endings are often removed and the repeated measures and endings written into the music so the performer can avoid having to go back to previous pages. These kinds of section repeats were invented to spare the composer’s time and the cost of extra paper and ink. But with a tablet the cost of paper and ink is irrelevant. ♫ Although there are a lot more page turns with a 10 inch screen compared with letter size pages, the readability of the music (due to the backlighting on the tablet) and the portability of the music (travelling with a small tablet instead of oversized books or portfolios of sheet music) easily makes up for the extra page turns. ♫ Your purchase provides one .pdf file that contains both the tablet edition and the letter size page (printable) version. There are several programs available online that will allow you to separate this .pdf file into 2 .pdf files to make it more useful.
$3.99
3.68 €
#
Piano seul
#
Stephen R Dalrymple
#
Haydn Piano Sonata 40.1 Allegretto innocente
#
Stephen R Dalrymple
#
SheetMusicPlus
Haydn Piano Sonata 40.2 Presto (Classical Music for Tablet Series)
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.818283 By Stephen R Dalrymple. By F…
(+)
Piano Solo - Level 3 - Digital Download SKU: A0.818283 By Stephen R Dalrymple. By Franz Joseph Haydn. Arranged by edited by Stephen R Dalrymple (Dalrymple Designs). Classical. Score. 14 pages. Stephen R Dalrymple #4967139. Published by Stephen R Dalrymple (A0.818283). Piano Sonata 40.2 Presto (Classical Music for Tablet Series) Franz Joseph Haydn was born in 1732 in a small village in Austria, near the Hungarian border. ♫ His father was a wheelwright and a leader of the town. His mother had been a cook in the palace of a Count. His father had taught himself to play the harp. His family was musical and often sang together (16 brothers and sisters). His father saw that he was extremely musical and that he couldn’t get the education he needed in his little village. When he was 6 years old, he was sent to the home of a relative about 7 miles away to study to be a musician. He never lived with his parents again. ♫ In 1752 he was employed by Count Karl Joseph Morzin, leading the Count’s small orchestra and writing the first of his symphonies. ♫ In 1760 he married Maria Keller. They had a very unhappy marriage, producing no children. ♫ In 1760 Count Paul Andre Esterhazy (one of the wealthiest and most important nobles in the Austrian empire) hired him as assistant director of music. In 1766 at the age of 34, Prince Nikolaus Esterhazy appointed Haydn his Director of Music. His job was divided between the Esterhazy palace in Austria their palace across the border Hungary. ♫ Haydn dedicated Piano Sonata 40 to Princess Marie Esterhazy. He worked for the Esterhazys for the next 28 years, writing hundreds of pieces of music for the prince. After about 15 years, he signed a new contract allowing him to write music for other customers. Haydn’s reputation grew to international fame. ♫ Haydn wrote 104 Symphonies. (Some count 107.) Not unlike George Washington, nicknamed the “Father of our Countryâ€, yet had no children, Haydn is known as the “Father of the Symphony.†and the “Father of the string Quartet.†♫ Napoleon captured Vienna in 1809. Napoleon, himself, ordered an honor guard be placed at Haydn’s home where Haydn lay dying. ♫ The Classical Music for Tablet Series offers piano masterworks by classical composers formatted to be read on 10 inch tablets. I use an Amazon Kindle with Mobile Sheets Pro and an Air Turn blue tooth foot pedal to practice and perform piano music. Similar products available to provide other tablets the same functionality. ♫ The pieces in this series have not been arranged, but most have been edited slightly, and have been formatted to fit this screen size. For example, in the tablet versions, first and second endings are often removed and the repeated measures and endings written into the music so the performer can avoid having to go back to previous pages. These kinds of section repeats were invented to spare the composer’s time and the cost of extra paper and ink. But with a tablet the cost of paper and ink is irrelevant. ♫ Although there are a lot more page turns with a 10 inch screen compared with letter size pages, the readability of the music (due to the backlighting on the tablet) and the portability of the music (travelling with a small tablet instead of oversized books or portfolios of sheet music) easily makes up for the extra page turns. ♫ Your purchase provides one .pdf file that contains both the tablet edition and the letter size page (printable) version. There are several programs available online that will allow you to separate this .pdf file into 2 .pdf files to make it more useful.
$3.99
3.68 €
#
Piano seul
#
Stephen R Dalrymple
#
Haydn Piano Sonata 40.2 Presto
#
Stephen R Dalrymple
#
SheetMusicPlus
Some Enchanted Evening
Chorale 2 parties
Choral 2-Part Chorus,Choir,Choral - Level 2 - Digital Download SKU: A0.1471422 By V…
(+)
Choral 2-Part Chorus,Choir,Choral - Level 2 - Digital Download SKU: A0.1471422 By Various Artists. By Oscar Hammerstein and Richard Rodgers. Arranged by C. Speck. 20th Century,Broadway,Film/TV,Musical/Show,Wedding. 7 pages. Carl Speck #1049198. Published by Carl Speck (A0.1471422). Elevate your next performance with this enchanting 2-part vocal arrangement of “Some Enchanted Evening” by Rodgers and Hammerstein. This arrangement captures the romance and magic of the iconic song from the 1949 musical “South Pacific,” making it a delightful choice for singers of all ages and skill levels.:Perfect for Beginners:Designed to be accessible, this arrangement ensures that even beginner singers can easily learn and perform it. The straightforward melodies and harmonies make it enjoyable and approachable for everyone.Choir Fun:Ideal for choirs of any size, this arrangement features lush harmonies that will bring your group together in a beautiful and cohesive performance. Whether you’re in a school choir, community group, or just harmonizing with friends, it’s a fantastic piece for a group setting.Great for Holidays and Special Events:While not a traditional holiday song, its romantic and captivating vibe makes it a perfect addition to any special event or concert. Its enchanting melody and heartfelt lyrics will captivate any audience.Kid-Friendly: With its memorable and beautiful tune, this arrangement is suitable for young singers. It’s an excellent choice for school music programs and youth choirs, making it fun and easy for kids to connect with the song’s magical quality.Piano Accompaniment Included:The vocal parts are paired with a graceful piano accompaniment that enhances the overall performance. The piano adds depth and supports the singers, ensuring a polished and beautiful rendition.Instant PDF Download:Need the sheet music right away? No worries! This arrangement is available for instant PDF download, so you can access it quickly and start rehearsing. Easy access means more time for enjoyment!This 2-part vocal arrangement of “Some Enchanted Evening” is a captivating and elegant addition to any performance repertoire. Whether you’re an experienced singer or just starting out, this arrangement will bring beauty and sophistication to your singing, delighting both you and your audience. Enjoy the timeless music of Rodgers and Hammerstein.
$2.99
2.76 €
#
Chorale 2 parties
#
Various Artists
#
C
#
Some Enchanted Evening
#
Carl Speck
#
SheetMusicPlus
<
1
26
51
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
Get It Right Next Time
