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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
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Vous avez sélectionné:
Got It Right This Time
SheetMusicPlus
Partitions à imprimer
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Got It Right This Time (The Celebration)
Paroles et Accords
Digital Download SKU: HX.318312 By Keith Urban. Country,Pop. Guitar Chords/Lyrics. …
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Digital Download SKU: HX.318312 By Keith Urban. Country,Pop. Guitar Chords/Lyrics. 3 pages. Published by Hal Leonard - Digital (HX.318312).
$1.99
1.79 €
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Paroles et Accords
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Keith Urban
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Got It Right This Time
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Hal Leonard - Digital
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SheetMusicPlus
(you've Got It) The Right Stuff
Bass Guitar,Drum Set,Piano,Synthesizer,Tenor Saxophone,Trombone,Trumpet - Level 3 - Digita…
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Bass Guitar,Drum Set,Piano,Synthesizer,Tenor Saxophone,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1080298 By New Kids on the Block. By Maurice Starr. Arranged by Christopher Alexander. Pop. 45 pages. Christopher Alexander #684515. Published by Christopher Alexander (A0.1080298). The popular late 80's pop group New Kids On the Block garnered this chart-topping hit from their second album. Â With its ear-catching intro and sentimental lyrics stereotypical of the boy bands from from the late 20th century, this will be an excellent addition to your pops concert repertoire for your men's choir. Â The audience may even want to join the famous dance craze this song inspired!Octavo available separately:https://www.sheetmusicplus.com/title/you-ve-got-it-the-right-stuff-digital-sheet-music/22313696.
$25.00
22.45 €
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New Kids on the Block
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Christopher Alexander
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(you've Got It) The Right Stuff
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Christopher Alexander
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SheetMusicPlus
(you've Got It) The Right Stuff
Chorale 2 parties
Choral Choir,Choral (TB) - Level 2 - Digital Download SKU: A0.1080300 By New Kids o…
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Choral Choir,Choral (TB) - Level 2 - Digital Download SKU: A0.1080300 By New Kids on the Block. By Maurice Starr. Arranged by Christopher Alexander. Pop. 12 pages. Christopher Alexander #684517. Published by Christopher Alexander (A0.1080300). The popular late 80's pop group New Kids On the Block garnered this chart-topping hit from their second album. Â With its ear-catching intro and sentimental lyrics stereotypical of the boy bands from from the late 20th century, this will be an excellent addition to your pops concert repertoire for your men's choir. Â The audience may even want to join the famous dance craze this song inspired!Full Score and Parts available separately:https://www.sheetmusicplus.com/title/you-ve-got-it-the-right-stuff-score-only-digital-sheet-music/22313694.
$2.25
2.02 €
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Chorale 2 parties
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New Kids on the Block
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Christopher Alexander
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(you've Got It) The Right Stuff
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Christopher Alexander
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SheetMusicPlus
Old-Time Favorites for Fiddle and Mandolin
Fiddle and mandolin - Intermediate-Advanced - Digital Download SKU: M0.30225BCDEB C…
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Fiddle and mandolin - Intermediate-Advanced - Digital Download SKU: M0.30225BCDEB Composed by Dan Levenson. Solos and Duets. Strings. E-book and online audio. Mel Bay Publications - Digital Sheet Music #30225BCDEB. Published by Mel Bay Publications - Digital Sheet Music (M0.30225BCDEB). ISBN 9781619114562. 8.75x11.75 inches.You asked for it and you got it! More tunes to play at festivals and jams or just sittin' at home with a friend or two. 62 more tunes with both basic and advanced standard notation lines with suggested chords as well as a mandolin tablature line to get you going in the right direction and playing these old-time favorites .As in Old-Time Festival Tunes for Fiddle and Mandolin  you will find some of the tunes to be straightforward while others promise to be genuine finger twisters! The book revisits some of the author's old favorites and some time-tested standards. The accompanying online audio includes each tune on both fiddle and mandolin. There is also a clawhammer banjo companion to this book titled Old-Time Favorites for Clawhammer Banjo which shares the same basic standard notation line in this volume.
$22.99
20.65 €
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Dan Levenson
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Old-Time Favorites for Fiddle and Mandolin
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
I Got You (i Feel Good)
Trio à Cordes: 2 violons, violoncelle
String Trio Cello,Violin - Level 4 - Digital Download SKU: A0.1305312 By James Brow…
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String Trio Cello,Violin - Level 4 - Digital Download SKU: A0.1305312 By James Brown. By James Brown. Arranged by Sarah Cellobat Chaffee. Funk,Pop,Rock,Soul,Wedding. 11 pages. Sarah Cellobat Chaffee #894751. Published by Sarah Cellobat Chaffee (A0.1305312). *INSTRUMENTATION: 2 VIOLINS & CELLO*I Feel Good is a song that truly needs no introduction! Released in 1965, this funky, catchy, and exciting song immediately reached the top 5 on the Billboard charts and remained there for six weeks, cementing its place as Brown's highest-charting and best-known song. And it has truly stood the test of time -- it has since been re-released, covered, and sampled numerous times, and it was even inducted into the Grammy Hall of Fame in 2013. And now you can have a blast playing it with your two-violin and cello string trio! Originally written for the groom's entrance at a wedding (it was epic), this Cellobat arrangement features the funky rhythmic groove, bluesy harmonies, and Brown's signature piercing vocal lines for a chart you and your audience are sure to love. Rated advanced-intermediate for some tricky rhythms and a few weird accidentals throughout; this will be learnable for students and sightreadable for professionals.Sarah “Cellobat†Chaffee is an in-demand acoustic & electric cellist and string arranger. Currently, she performs with legendary rock band Aerosmith in their “Deuces Are Wild†residency show, and she is the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays with many other groups including Premiere Wedding Music, Bella Electric Strings, the Femmes Of Rock, and David Perrico’s Pop Strings Orchestra. Sarah has performed and recorded with numerous other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Michael Bublé, Sarah Brightman, and Lady A. She is the exclusive arranger for a number of award-winning wedding and event companies all across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles all over the world. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobat.
$14.99
13.46 €
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Trio à Cordes: 2 violons, violoncelle
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James Brown
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Sarah Cellobat Chaffee
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I Got You
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Sarah Cellobat Chaffee
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SheetMusicPlus
I've Gotta Get A Message To You
Quatuor de Cuivres : 2 trompettes, trombone, tuba
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.802647
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.802647 By Bee Gees. By Barry Gibb, Maurice Gibb, and Robin Gibb. Arranged by Peet du Toit. Dance,Disco. Score and parts. 23 pages. Peet du Toit #6197563. Published by Peet du Toit (A0.802647). I've Gotta Get a Message to You is a song by the Bee Gees. Released as a single on 7 September 1968, it was their second number-one single on the UK Singles Chart and their first US Top 10 hit.The song is about a man who, awaiting his execution in the electric chair, begs the prison chaplain to pass a final message on to his wife. Robin Gibb, who wrote the lyrics, said that the man's crime was the murder of his wife's lover, though the lyrics do not explicitly allude to the identity of the victim. Robin said, This is about a prisoner on Death Row who only has a few hours to live. He wants the prison chaplain to pass on a final message to his wife. There's a certain urgency about it. Myself and Barry wrote it. It's a bit like writing a script. Sometimes you can sit there for three hours with your guitar and nothing will happen. Then in the last ten minutes something will spark. The song was written with Percy Sledge in mind to record it. Sledge did record it in February 1970 but Atlantic did not issue his version in the United States at the time.Barry recalled, In those days, the lyrics were almost pretty well done on the spot. I don't remember the fundamentals on how the lyrics were formed, except that we were writing about a guy on death row. That was it.Robin adds:It was like acting, you see, we said, let's pretend that somebody, his life is on the line, somebody's going to the chair. What would be going through their mind? Let's not make it doom and gloom but sort of an appeal to the person he loves. Because right now that's all he cares about. Regardless of whether he's done a bad thing, he is a human being, and he's sending out this last message. There's someone out there whom he loves. It's a torch song, but within a very sort of theatrical sense. Not sort of abstract, but definitely somebody in a very bad situation whose life is going to end. What would they be saying, you know? This is it: 'Gotta get a message to you, hold on.Revive this hit on your brass instruments and enjoy!
$17.00
15.27 €
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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Bee Gees
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Peet du Toit
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I've Gotta Get A Message To You
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Peet du Toit
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SheetMusicPlus
The Best Hymns of All Time (for Wind Instruments) Book 3
Orchestre d'harmonie
Concert Band - Level 2 - Digital Download SKU: A0.522172 Composed by Various. Arran…
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Concert Band - Level 2 - Digital Download SKU: A0.522172 Composed by Various. Arranged by Colin Kirkpatrick. Praise & Worship,Sacred. Score and parts. 138 pages. Colin Kirkpatrick Publications #5726785. Published by Colin Kirkpatrick Publications (A0.522172). Here’s a terrific collection of sixty of the best-loved hymns ever composed. The hymns are scored in four parts and could be used with virtually any combination of conventional wind instruments. They are presented in a set of three books and include full four-part instrumental scores plus separate parts in a variety of useful transpositions. Parts 1 and 2 (soprano and alto) are provided in B flat, E flat and C (8ve higher than concert); Part 3 (tenor) in B flat (9th above concert), E flat, F and C (bass clef) and Part 4 (bass) in B flat, E flat and C. There’s also an optional but useful simplified keyboard part intended for less experienced keyboard players. The left hand plays only the bass part most of the time, with the right hand part kept as simple as possible. It could be used as the basis of an accompaniment and means that you can use the arrangements as solos, duets or trios. The piano part too means that you can use the arrangements as solos, duets or trios. These arrangements are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing. This is essential music for schools and many churches and contains probably all the hymns you’ll ever need. The entire collection of scores and parts is presented in a single 138-page PDF file for instant download. Book 3 contains the following twenty popular hymns: All Hail the Power of Jesus’ Name (Miles Lane); All things Bright and Beautiful (Bright and Beautiful); Alleluia, Sing to Jesus (Hyfrydol); Blessed Assurance (Assurance); Come, Ye Thankful People, Come (St George’s Windsor); Father, Hear the Prayer we Offer (Sussex & Gott Will's Machen); For the Beauty of the Earth (Dix); Glorious Things of Thee are Spoken (Austrian hymn); How Firm a Foundation (Foundation); Jesu, Lover of my Soul (Hollingside); Jesus Loves Me, This I Know (Jesus Loves Me); Joyful, Joyful, We Adore Thee (Hymn to Joy); Kum Ba Yah (Afro-American folksong); Mine Eyes have Seen the Glory (Battle Hymn of the Republic); O God, Our Help In Ages Past (St. Anne); Morning has Broken (Bunessan); Praise to the Lord the Almighty (Lob den Herren); Shall We Gather at the River? (Hanson Place); The God of Abraham Praise (Leoni); When Peace Like a River (Ville du Havre). The music has been set in wind-friendly keys and the arrangements are compatible with the brass collection of the same name. They are not compatible with the string collection of the same name.
$31.99
28.73 €
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Orchestre d'harmonie
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Various
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Colin Kirkpatrick
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The Best Hymns of All Time
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Colin Kirkpatrick Publications
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SheetMusicPlus
It Don't Mean A Thing (if It Ain't Got That Swing)
Quatuor de Saxophones: 4 saxophones
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Sopra…
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Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.1294176 By Duke Ellington. By Duke Ellington and Irving Mills. Arranged by BARRY MOLINSKI. Barbershop,Blues,Broadway,Jazz,Musical/Show,Standards. 23 pages. Barry Molinski #884601. Published by Barry Molinski (A0.1294176). Duke Ellington's classic IT DON'T MEAN A THING for Saxophone Quartet (SS/AS) AS TS BSMedium uptime tempo, not so easy to play, but fun! Burnin' chart! Enjoyable music. Well known from the Broadway Musicals.Saxophone Quartet, Woodwind Ensemble:Â Soprano Saxophone (opt. Alto Saxophone), Alto Saxophone, Tenor Saxophone, Baritone Saxophone, (opt. Bass Sax on request)- Level 4 - Digital DownloadMusic by Duke Ellington.This swinging arrangement comes with an original introduction in slower tempo, followed by the theme and written lines for all saxes.Two improvised solos, on tenor part and alto part with backing fills.This bluesy tune gives you the right atmosphere to be in a smokin' 'n' drinkin' bar in the United States, where jazz & blues growd up.Good arrangement to play this on stage as a set opener.Broadway, Film/TV, Musical/Show, Pop, Classics, Blues, Jazz & Blues, 23 pages.
$24.99
22.44 €
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Quatuor de Saxophones: 4 saxophones
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Duke Ellington
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BARRY MOLINSKI
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blues growd up
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It Don't Mean A Thing
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Barry Molinski
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SheetMusicPlus
They'll Be on the Rock This Christmas
Accordion,Drum Set,Electric Bass Guitar,Piano Accompaniment - Level 3 - Digital Download
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Accordion,Drum Set,Electric Bass Guitar,Piano Accompaniment - Level 3 - Digital Download SKU: A0.1105243 By David Kai. By David Kai. Arranged by David Kai. Celtic,Country,Folk,Irish. Full Performance. Duration 228. David Kai #708503. Published by David Kai (A0.1105243). A Newfoundland Christmas song about wishing to be back home for Christmas. THEY’LL BE ON THE ROCK THIS CHRISTMAS words and music by David Kai ©1997 They’ll come from far as Whitehorse and as close as Sydney Mines, They’re packing up their suitcases and their boxes tied with twine, They’re getting on those airplanes, Dash 8s and DC 9s, Driving to the ferry docks and they’re waiting there in line. And they'll be on the Rock this Christmas, where stars shine twice as bright, They'll be on the Rock this Christmas, greeting mummers every night, Yarning ‘round the wood stove, eating partridgeberry pie, And I’ll be wondering “Why, oh why aren’t I?†‘Cause I’ll be in the factory, pulling double overtime, No one wants the Christmas shift so I guess that makes it mine, Late tonight I’ll light a candle in my lonely room, And think of those who are traveling home, ‘cause I know that very soon, That they'll be on the Rock this Christmas, where stars shine twice as bright, Yeah, they'll be on the Rock this Christmas, greeting mummers every night, Yarning ‘round the wood stove eating partridgeberry pie, And I’ll be wondering “Why, oh why aren’t I?†I’ve got to get there somehow, this poor soul’s just too homesick, My busted car won’t take me far, but my thumb will do the trick. I’ll call the boss from Port aux Basques, hope he’s in the mood to see, ‘Though I may choose to leave the Rock, it’s the Rock that won’t leave me. And I'll be on the Rock this Christmas, where stars shine twice as bright, Yeah, I'll be on the Rock this Christmas, greeting mummers every night, Yarning ‘round the wood stove, eating partridgeberry pie, And no more wondering “Why, oh why aren’t I?†Optional extra chorus: And we'll be on the Rock this Christmas, where stars shine twice as bright, Yeah, we'll be on the Rock this Christmas, greeting mummers every night, Yarning ‘round the wood stove, eating partridgeberry pie, And no more wondering “Why, oh why aren’t I?†Tag: No, no more wondering “Why, oh why aren’t I?â€.
$1.99
1.79 €
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David Kai
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David Kai
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They'll Be on the Rock This Christmas
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David Kai
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SheetMusicPlus
Red Right Hand
Chorale SATB
Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1099904 By Nick Cav…
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Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1099904 By Nick Cave. By Mick Harvey, Nicholas Cave, and Thomas Wydler. Arranged by Scott S. Stewart. Contemporary,Film/TV,Halloween,Thriller. 26 pages. Scott S. Stewart #703784. Published by Scott S. Stewart (A0.1099904). “Red Right Handâ€, by Nick Cave and the Bad Seeds was released in 1994. It is a modern-day adult gothic Halloween-type tale, inspired by English poet John Milton’s epic poem Paradise Lost, where the ‘red right hand strikes vengeance on the demon Belial’. This tune found its way to the Scream film series and serves as the theme song for the BBC series Peaky Blinders. This arrangement is scored for 4-part SATB ensemble with piano accompaniment. Add an acoustic bass [part included] and a Latin percussion shaker to flush out your ensemble. Performance time: 5:51+.
$2.99
2.69 €
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Chorale SATB
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Nick Cave
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Scott S
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Red Right Hand
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Scott S. Stewart
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SheetMusicPlus
Red Right Hand
Piano, Voix
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1099911 By Nick Cave. By Mic…
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Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1099911 By Nick Cave. By Mick Harvey, Nicholas Cave, and Thomas Wydler. Arranged by Scott S. Stewart. Contemporary,Film/TV,Halloween,Thriller. Score. 15 pages. Scott S. Stewart #703791. Published by Scott S. Stewart (A0.1099911). “Red Right Handâ€, by Nick Cave and the Bad Seeds was released in 1994. It is a modern-day adult gothic Halloween-type tale, inspired by English poet John Milton’s epic poem Paradise Lost, where the ‘red right hand strikes vengeance on the demon Belial’. This tune found its way to the Scream film series and serves as the theme song for the BBC series Peaky Blinders. This arrangement is scored for solo voice with piano accompaniment. Add an acoustic bass [part included] and a Latin percussion shaker to create your ensemble. Performance time: 5:51+.
$9.99
8.97 €
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Piano, Voix
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Nick Cave
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Scott S
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Red Right Hand
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Scott S. Stewart
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SheetMusicPlus
Red Right Hand
Chorale TTBB
Choral Choir,Choral (TTBB) - Level 3 - Digital Download SKU: A0.1099907 By Nick Cav…
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Choral Choir,Choral (TTBB) - Level 3 - Digital Download SKU: A0.1099907 By Nick Cave. By Mick Harvey, Nicholas Cave, and Thomas Wydler. Arranged by Scott S. Stewart. Contemporary,Film/TV,Halloween,Thriller. 26 pages. Scott S. Stewart #703787. Published by Scott S. Stewart (A0.1099907). “Red Right Handâ€, by Nick Cave and the Bad Seeds was released in 1994. It is a modern-day adult gothic Halloween-type tale, inspired by English poet John Milton’s epic poem Paradise Lost, where the ‘red right hand strikes vengeance on the demon Belial’. This tune found its way to the Scream film series and serves as the theme song for the BBC series Peaky Blinders. This arrangement is scored for 4-part men’s TTBB ensemble with piano accompaniment. Add an acoustic bass [part included] and a Latin percussion shaker to flush out your ensemble. Performance time: 5:51+.
$2.99
2.69 €
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Chorale TTBB
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Nick Cave
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Scott S
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Red Right Hand
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Scott S. Stewart
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SheetMusicPlus
Good Riddance (Time of Your Life)
Chorale SATB
Chorus - Digital Download SKU: AX.00-PO-0002250 Good Riddance (Time of Your Life…
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Chorus - Digital Download SKU: AX.00-PO-0002250 Good Riddance (Time of Your Life) - SATB. Composed by Green Day. Arranged by Mike Taylor. Choral. 10 pages. Alfred Music - Digital Sheet Music #00-PO-0002250. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0002250). UPC: 038081267050. Billie Joe.We've gotten several requests for this song from choral directors. From the rock group Green Day comes this hit song arranged for choral groups by Mike Taylor. The lyrics are perfect for graduation or end of year concerts: It's something unpredictable, but in the end is right. I hope you had the time of your life. Some listeners may remember this song as featured in the final episode of the TV sitcom Seinfeld. This title is available in Music Prodigy.Recorded Acc. Available.
$2.10
1.89 €
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Chorale SATB
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Green Day
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Mike Taylor
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Good Riddance
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Good Riddance (Time of Your Life)
Chorale 3 parties
Chorus - Digital Download SKU: AX.00-PO-0002251 Good Riddance (Time of Your Life…
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Chorus - Digital Download SKU: AX.00-PO-0002251 Good Riddance (Time of Your Life) - SAB. Composed by Green Day. Arranged by Mike Taylor. Choral. 10 pages. Alfred Music - Digital Sheet Music #00-PO-0002251. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0002251). UPC: 038081267067. Billie Joe.We've gotten several requests for this song from choral directors. From the rock group Green Day comes this hit song arranged for choral groups by Mike Taylor. The lyrics are perfect for graduation or end of year concerts: It's something unpredictable, but in the end is right. I hope you had the time of your life. Some listeners may remember this song as featured in the final episode of the TV sitcom Seinfeld. This title is available in Music Prodigy.Recorded Acc. Available.
$1.90
1.71 €
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Chorale 3 parties
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Green Day
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Mike Taylor
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Good Riddance
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
I've Got My Love To Keep Me Warm
Orchestre
Full Orchestra - Digital Download SKU: A0.798373 By Benny Goodman. By Irving Berlin…
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Full Orchestra - Digital Download SKU: A0.798373 By Benny Goodman. By Irving Berlin. Arranged by Paul Hemmer. Jazz. Score and parts. 47 pages. PJMS MUSIC #6531057. Published by PJMS MUSIC (A0.798373). This winter classic is scored in society band style with a bright, bouncy riff repeated several times. Short solos spotlight oboe and trombone. A rich brass section lead by the french horns and trombones adds to the color of this orchestration which has been played by several regional symphony orchestras. It will be an audience favorite. .
$60.00
53.88 €
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Orchestre
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Benny Goodman
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Paul Hemmer
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I've Got My Love To Keep Me Warm
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PJMS MUSIC
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SheetMusicPlus
The Story Of Reuben Clamzo & His Strange Daughter
Chorale TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…
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Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
3.58 €
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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
Got It Right This Time
Piano, Voix et Guitare
By Keith Urban. For piano, voice, and guitar (chords only). Country; Pop. 7 pages. Publish…
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By Keith Urban. For piano, voice, and guitar (chords only). Country; Pop. 7 pages. Published by Hal Leonard - Digital Sheet Music
$4.99
4.48 €
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Piano, Voix et Guitare
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Keith Urban
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Pop
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Got It Right This Time
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Got It Right This Time
Guitare notes et tablatures
By Keith Urban. For guitar. Country; Pop. Guitar TAB. 5 pages. Published by Hal Leonard - …
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By Keith Urban. For guitar. Country; Pop. Guitar TAB. 5 pages. Published by Hal Leonard - Digital Sheet Music
$4.99
4.48 €
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Guitare notes et tablatures
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Keith Urban
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Pop
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Got It Right This Time
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
The Best Hymns of All Time (for Strings) Book 3
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet, String Orchestra, Playable by any size string ensemble from quartet …
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String Quartet, String Orchestra, Playable by any size string ensemble from quartet upwards - Early Intermediate - Digital Download Composed by Various. Arranged by Colin Kirkpatrick. Christian, Sacred, Praise & Worship, General Worship. Score, Set of Parts. 65 pages. Published by Colin Kirkpatrick Publications
The Best Hymns of All Time<br> Arranged for Strings by Colin Kirkpatrick<br> <br> Book 3<br> <br> We’re really excited to present the third and last book of our collection of sixty of the best-loved hymns ever composed. The hymns are scored in four parts and could be used with virtually any combination of stringed instruments: string quartet or quintet or any size string ensemble. They are presented in a set of three books and include full four-part instrumental scores plus four separate parts for 1st violin, 2nd violin, viola and cello (and double bass). The bass part is also optional because it doubles the cello part an octave lower. There’s also an optional but useful simplified keyboard part intended for less experienced keyboard players. The left hand plays only the bass part most of the time, with the right hand part kept as simple as possible. The piano part too means that you can use the arrangements as solos, duets or trios. To make the music accessible to less experienced players, the range of the notes has been kept fairly low so that many of the arrangements can be played in first position. However, to produce a brighter and richer sound, a few of the more experienced violinists could play an octave higher. You can hear this effect in the audio samples.<br> <br> These arrangements are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing. This is essential music for schools and many churches and contains probably all the hymns you’ll ever need. The scores and all the parts of Book 2 are contained in a single 65-page PDF file.<br> <br> Book 3 contains the following twenty popular hymns: All Hail the Power of Jesus’ Name (Miles Lane); All things Bright and Beautiful (Bright and Beautiful); Alleluia, Sing to Jesus (Hyfrydol); Blessed Assurance (Assurance); Come, Ye Thankful People, Come (St George’s Windsor); Father, Hear the Prayer we Offer (Sussex & Gott Will's Machen); For the Beauty of the Earth (Dix); Glorious Things of Thee are Spoken (Austrian hymn); How Firm a Foundation (Foundation); Jesu, Lover of my Soul (Hollingside); Jesus Loves Me, This I Know (Jesus Loves Me); Joyful, Joyful, We Adore Thee (Hymn to Joy); Kum Ba Yah (Afro-American folksong); Mine Eyes have Seen the Glory (Battle Hymn of the Republic); O God, Our Help In Ages Past (St. Anne); Morning has Broken (Bunessan); Praise to the Lord the Almighty (Lob den Herren); Shall We Gather at the River? (Hanson Place); The God of Abraham Praise (Leoni); When Peace Like a River (Ville du Havre).<br> <br> The audio samples include (1) All things Bright and Beautiful, (2) How Firm a Foundation, (3) Kum Ba Yah and (4) Morning has Broken. The music has been set in string-friendly keys so they are not compatible with the brass collection of the same name.
$25.99
23.34 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Various
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Worship, General Worship
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The Best Hymns of All Time
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Colin Kirkpatrick Publications
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SheetMusicPlus
SOS REACHING THE FUTURE
Piano seul
Piano - Digital Download SKU: A0.1066576 Composed by THEMIS KOUTRAS. Christian,Gosp…
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Piano - Digital Download SKU: A0.1066576 Composed by THEMIS KOUTRAS. Christian,Gospel,Praise & Worship,Sacred. Full Performance. Duration 256. THEMIS KOUTRAS #4766863. Published by THEMIS KOUTRAS (A0.1066576). The meaning of this song is that if we right something down like a message or film tape so on you can then hide it good well sometime in the future the item will still be there as long as it is not destroyed thus it will travel in the future the best way is on paper writings or stone tablets because in the future they may have or may not have the same technology as we do today for videos or tapes so on to see it or hear the message if someone in the future finds it off course it would have to be preserved from things like weather that can destroy it well the old saints preached the gospel everywhere but also wrote it down and hid it well well by miracle by praying GOD preserved it and now we got the holy bible this is proven that there was no way in the world that this holy bible could have survived preserved all these years unless GOD preserved it which he did this is the story of how the holy bible survived the time they found it they found it in different books lots of them in different places of the world this proves there must be a GOD out there who preserved it the HOLY BIBLE thus the song says s o s reaching the future thus it means as i said above
$4.99
4.48 €
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Piano seul
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THEMIS KOUTRAS
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SOS REACHING THE FUTURE
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THEMIS KOUTRAS
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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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)
$23.99
21.54 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Let It Be
Piano seul
Piano Solo - Intermediate - Digital Download By The Beatles. Arranged by Elena Fortin…
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Piano Solo - Intermediate - Digital Download By The Beatles. Arranged by Elena Fortin. Sheet Music Single. 4 pages. Published by Elena Fortin
Let It Be is one of my favourite songs from the Beatles. John Lennon and Paul McCartney are credited as the singer/songwriters of this beautiful ballad.<br> <br> I watched the movie "Yesterday" featuring so many of the Beatles iconic songs and had this song running through my head for days afterwards. Sitting down at the piano, this arrangement came to me in a few hours. I scribbled madly to get it all down and then was discouraged when I found out that the Beatles' collection of music was NOT in our catalog of arrangeable songs! (Normally I check before I write!)<br> <br> I contacted SMP Press to ask if it would be difficult to try to obtain the copyrights from Sir Paul! I was excited to see his music included in our catalog a few months later! I put the video up as a piano cover on YouTube and got a few requests for the sheet music. So glad to be able to make it available now.<br> <br> This year, I've been arranging songs that I consider to be important. The popular ballad's longevity is a testament to it's importance in songwriting history.<br> <br> My arrangement is written in 4/4 time, with left hand that provides the accompaniment. This is an expressive piano solo, and is a challenge to intermediate and early advanced players. The arrangement has four-note chords, some octave work, and an area where there are bass leaps in the left hand. Legato pedalling should be used throughout, with attention to careful fingering to ensure that the melody is played smoothly and expressively. The piano solo can be used as a recital piece, a solo in many different arenas or for your own private enjoyment.<br> <br> If you like this arrangement, please check out my other piano solos on my publisher page. You can also check out my YouTube channel "the-piano-studio.com", or my website at www.the-piano-studio.com.
$4.99
4.48 €
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Piano seul
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The Beatles
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Elena Fortin
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Let It Be
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Elena Fortin
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SheetMusicPlus
Stabat Mater - string ensemble parts
Small Ensemble - Level 4 - Digital Download SKU: A0.1195919 Composed by Annemieke L…
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Small Ensemble - Level 4 - Digital Download SKU: A0.1195919 Composed by Annemieke Lustenhouwer. Contemporary. Score and parts. 80 pages. Annemieke Lustenhouwer #795094. Published by Annemieke Lustenhouwer (A0.1195919). What happens when you close your eyes and you see yourself standing next to Mother Mary when Jesus dies? What do you see and what do you feel? That was what I’ve been asking myself for years when I read the text Stabat Mater. This composition tells about this experience and this questions. Sometimes a motif tells quite literally about this story, like the moment when Jesus is nailed down the cross: first the right hand, then the left hand and finaly with one nail both feet. In the first part of the composition, the viola tells with sforzato accents about this.This Stabat Mater is not only an expression of the pain of the Virgin Mother, but is also a tribute to JS Bach as well. Bach is by some seen as a fith evangelist. Nowadays there are still a lot of people who are affected by how his music tells about biblical stories, like I am. In this Stabat Mater I use the number 5 to express that: the first part is written in 5/4th and the last part Quando corpus et Amen is written with 5 parts in the choir. There can also be found a reworked choral in the choir passages of  O quam tristis et afflicta. It is the choral Wie nahe mir mein Ende from BWV 166.Polyfony is a returning presence in this Stabat Mater. I had an visual idea about this. When I was young I saw in an exhibition a tapestry with all kinds of colours and threads, and everything felt in motion. It was a kind of organized mess, but it was beautiful and felt perfect. I wondered if I could manage to express this idea in music as well. Under one of the polyphonic passages there is a Latin-American dance rhythm to express that motion. I heard that rhythm in my childhood in a rhythmbox of the keyboard of my dad. Another passage has the baroque sarabande-rhythme underneath in the double bass.A lullaby-feeling in some parts of the Stabat Mater tells about another story that got intertwined with this composition. It’s the story of a mother who rocks her terminal dying little son in her arms. I once read that story and it felt connected with the Stabat Mater text for a long time. I decided to express that as well.This composition is dedicated to the Dutch conductor Geert van den Dungen. However I saw many conductors, while playing the oboe and clarinet from a young age, there was nobody who let me think very deeply about music. Geert was the one who changed that for me. I started to study scores and developed a great interest in music analysis and music psychology. Many moments of inspiration and understanding for this Stabat Mater happened on choir rehearsals and concerts where Geert was working. I am very grateful for that.String parts only, see for conductors/ choir score Sheet Music plus and Sheet music direct.
$19.00
17.06 €
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Annemieke Lustenhouwer
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Stabat Mater - string ensemble parts
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Annemieke Lustenhouwer
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SheetMusicPlus
The High Line: Sonata for Violin and Piano
Violon et Piano
Piano,Violin - Level 5 - Digital Download SKU: A0.987912 Composed by Andrew Shapiro…
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Piano,Violin - Level 5 - Digital Download SKU: A0.987912 Composed by Andrew Shapiro. 20th Century,Classical,Contemporary. 21 pages. Airbox Music Publishing #2157881. Published by Airbox Music Publishing (A0.987912). Sonata Violin/Piano: THE HIGH LINE (2015)Commissioned by Gregory Fulkerson, Professor of Music, The Oberlin Conservatory of Music. Gregory Fulkerson writes: Andrew Shapiro is a composer and songwriter living in Brooklyn. I first met him during his senior year at Oberlin when he acted as an audio assistant for my 1998 Merkin Hall concert in New York. I reconnected with him by chance in 2012, and we discussed working together to develop a violin sonata. I love the forthright and amiable spirit that permeates the piece; it is definitely in a pop style, yet he handles the standard acoustic sonorities deftly and there is a wealth of detail in the patterns of the violin. I don’t know anything else quite like it.Andrew Shapiro writes: In 2011 I fell into a job as a High Line Park Ranger so as to be able to spend considerable time at this new, rather bizarre park. When there weren’t huge mobs of people around (and it wasn’t absolutely freezing), during my year working there I often found myself near the top of the Gansevoort stairs contemplating the view of the river. After a while I got the idea to write a few sweet and simple pieces of music about it at different times of the day.
$22.00
19.76 €
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Violon et Piano
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Andrew Shapiro
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The High Line: Sonata for Violin and Piano
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Airbox Music Publishing
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SheetMusicPlus
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