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Let's Hear It For The Boy
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The Story Of Reuben Clamzo & His Strange Daughter
Chorale TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…
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Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
3.66 €
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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
Let's Hear It For The Boy
Hautbois, Piano (duo)
B-Flat Clarinet,Bassoon,Flute,Horn,Oboe,Piano - Level 5 - Digital Download SKU: A0.1235…
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B-Flat Clarinet,Bassoon,Flute,Horn,Oboe,Piano - Level 5 - Digital Download SKU: A0.1235412 By Deniece Williams. By Dean Pitchford and Tom Snow. Arranged by Liam Ritz. Broadway,Film/TV,Funk,Hip-Hop,Musical/Show,Pop,R & B. 47 pages. Liam Ritz #830945. Published by Liam Ritz (A0.1235412). Piano and woodwind quintet arrangment of Let's Hear it for the Boy from the Paramount Motion Picture Footloose.
$30.00
27.52 €
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Hautbois, Piano (duo)
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Deniece Williams
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Liam Ritz
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Let's Hear It For The Boy
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Liam Ritz
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SheetMusicPlus
Let's Hear It For The Boy
Small Ensemble Drum Set,Electric Bass Guitar,Electric Guitar,Piano,Synthesizer - Level 3 -…
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Small Ensemble Drum Set,Electric Bass Guitar,Electric Guitar,Piano,Synthesizer - Level 3 - Digital Download SKU: A0.586509 By Deniece Williams. By Dean Pitchford and Tom Snow. Arranged by David Maddux. Contemporary,Pop. Score and parts. 40 pages. David Maddux #195805. Published by David Maddux (A0.586509). NOTE: This PDF file contains the conductor’s score, individual instrumental parts, and vocal-only part. The piano-vocal is sold separately. YOU ARE LEGALLY OBLIGATED TO PURCHASE ONE PIANO-VOCAL PDF PER SINGING MEMBER, INCLUDING CONDUCTORS AND ACCOMPANISTS.
$50.00
45.86 €
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Deniece Williams
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David Maddux
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Let's Hear It For The Boy
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David Maddux
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SheetMusicPlus
Let's Hear It For The Boy
Piano grosses notes
Digital Download SKU: HX.449683 By Deniece Williams. Broadway,Pop. E-Z Play Today. …
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Digital Download SKU: HX.449683 By Deniece Williams. Broadway,Pop. E-Z Play Today. 4 pages. Published by Hal Leonard - Digital (HX.449683). About Hal Leonard E-Z Play TodayFor organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar.
$2.99
2.74 €
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Piano grosses notes
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Deniece Williams
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Let's Hear It For The Boy
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Hal Leonard - Digital
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SheetMusicPlus
Let's Hear It For The Boy
Small Ensemble Drum Set - Level 3 - Digital Download SKU: A0.867497 By Deniece Will…
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Small Ensemble Drum Set - Level 3 - Digital Download SKU: A0.867497 By Deniece Williams. By Tom Snow. Arranged by K Davies. Soul. Score and parts. 33 pages. Bandmusic.co.uk #3361747. Published by Bandmusic.co.uk (A0.867497). A great arrangement for Brass Band for this 1980s hit for Deniece Williams which was also used in the soundtrack for the film Footloose. It has a memorable bass part as well as interesting interjections from Soprano cornet and a relatively undemanding Solo Cornet part.
$45.00
41.28 €
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Deniece Williams
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K Davies
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Let's Hear It For The Boy
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Bandmusic.co.uk
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SheetMusicPlus
Let's Hear It For The Boy
Chorale TTBB
Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.508138 By Deniece Williams…
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Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.508138 By Deniece Williams. By Tom Snow. Arranged by David Maddux. Contemporary,Pop. Octavo. 11 pages. David Maddux #5290089. Published by David Maddux (A0.508138). NOTE: This PDF file contains the piano-vocal part. The orchestration is sold separately. YOU ARE LEGALLY OBLIGATED TO PURCHASE ONE PIANO-VOCAL PDF PER SINGING MEMBER, INCLUDING CONDUCTORS AND ACCOMPANISTS.
$5.25
4.82 €
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Chorale TTBB
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Deniece Williams
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David Maddux
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Let's Hear It For The Boy
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David Maddux
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SheetMusicPlus
Guitar Chord Progression Generators for Common Scales ~ 12 Pages
Guitare
Solo Guitar - Level 2 - Digital Download SKU: A0.1139670 Composed by Brian Streckfu…
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Solo Guitar - Level 2 - Digital Download SKU: A0.1139670 Composed by Brian Streckfus. Instructional,Jazz,Singer/Songwriter. Individual part. 12 pages. Brian Streckfus #739941. Published by Brian Streckfus (A0.1139670). This is a 12-page PDF showing 7 guitar chords on each page. Rather than selling each PDF seperately (which is a bit overpriced and too much of a hassle), I decided to combine them and offer a great deal! Learn how to compose chord progressions like a pro while having fun and playing!Objective:Teach yourself the seven chords that belong to each type of scale. Rather than bombard you with a thousand guitar chords (which is easy to happen when browsing the internet or playing random songs), I'd rather show how a select few chords are working well together in common contexts. The hope is that you would then be able to see this happening in all 12 keys. What Scales/Modes are being harmonized? C Major (+jazz version) A (natural) minor (+jazz version) A harmonic minor (+jazz version) B Locrian D Dorian E Phyrigian F Lydian G Mixolydian Features: Slowly increases in physical and theoritcal difficulty at the same time. Many music theory books seem abstract and impractical whereas these chord charts show music theory applied to guitar. These chord progressions are a great composition aid. Guitar chord diagrams Traditional notation with letter names on the note heads Roman numerals color coded Modes included. The Beatles and jazz musicians use modal chord progressions to give their music uniqueness. It's almost as if one note is wrong intentionally. Practicality and flow on guitar is emphasized more then music theory conciseness. Letter names are not in a perfect order (as that is sometimes impossible for the guitar to do). Sometimes a more complex chord is opted for because it's actually easier to play physically. Tips: Order = Blue, Yellow, Red, Blue for stereotypical classical style chord progressions. Rock and blues often do more of a chord succession; red going to yellow happens often, even though it is breaking a rule. The professional names for blue, yellow, red: tonic, predominant, dominant respectively. I did not invent this theoretical concept, but I am probably one of the few musician's to color code the categories regularly. The colors explain the situation elegantly; the professional words seem like abstract PhD education, whereas saying blue is relaxing and red is uncomfortable is something a child can understand quickly. One fantastic tip I hardly hear anyone say: it doesn't so much matter that you play the same chord as the other musician in your ensemble (unless you are getting paid to do exactly that). It matters more that you simply play the same color as them. You will have a deeper understanding of how music works if you think like this, and mistakes will no longer be seen as mistakes. What happens when a C Major and A minor chord are played at the same time? Hardly anything! It's just a Am7! Big whoop! It isn't a horrendous sounding mistake. Circle a key on the circle of fifths. Now circle the two keys next to it (-1b, +1#). This leads to six chords that belong diatonically to the first key you circled! Memorizing these will allow you to better predict what composers are about to do, especially if you know ahead of time that the song does not change key. Get away from the echo chamber of common are arugably bad cowboy chords and be able to build your own.
$1.99
1.83 €
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Guitare
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Brian Streckfus
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Guitar Chord Progression Generators for Common Scales ~ 12 Pages
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Brian Streckfus
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SheetMusicPlus
Let's Hear It For The Boy
Clarinette
(Clarinet) - Interactive Download SKU: HX.387268 By Deniece Williams. This edition:…
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(Clarinet) - Interactive Download SKU: HX.387268 By Deniece Williams. This edition: Interactive Download. Pop,Rock. Clarinet Solo. 1 pages. Published by Hal Leonard - Digital (HX.387268).
$2.99
2.74 €
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Clarinette
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Deniece Williams
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Let's Hear It For The Boy
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Hal Leonard - Digital
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SheetMusicPlus
Let's Hear It For The Boy
Trombone
(Trombone) - Interactive Download SKU: HX.387826 By Deniece Williams. This edition:…
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(Trombone) - Interactive Download SKU: HX.387826 By Deniece Williams. This edition: Interactive Download. Pop,Rock. Trombone Solo. 1 pages. Published by Hal Leonard - Digital (HX.387826).
$2.99
2.74 €
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Trombone
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Deniece Williams
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Let's Hear It For The Boy
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Hal Leonard - Digital
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SheetMusicPlus
Let's Hear It For The Boy
Flûte traversière
Interactive Download SKU: HX.387653 By Deniece Williams. This edition: Interactive …
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Interactive Download SKU: HX.387653 By Deniece Williams. This edition: Interactive Download. Pop,Rock. Flute Solo. 1 pages. Published by Hal Leonard - Digital (HX.387653).
$2.99
2.74 €
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Flûte traversière
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Deniece Williams
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Let's Hear It For The Boy
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Hal Leonard - Digital
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SheetMusicPlus
Let's Hear It For The Boy
Trompette
(Trumpet) - Interactive Download SKU: HX.387878 By Deniece Williams. This edition: …
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(Trumpet) - Interactive Download SKU: HX.387878 By Deniece Williams. This edition: Interactive Download. Pop,Rock. Trumpet Solo. 1 pages. Published by Hal Leonard - Digital (HX.387878).
$2.99
2.74 €
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Trompette
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Deniece Williams
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Let's Hear It For The Boy
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Hal Leonard - Digital
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SheetMusicPlus
Let's Hear It For The Boy
Cor
(Horn) - Interactive Download SKU: HX.391571 By Deniece Williams. This edition: Int…
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(Horn) - Interactive Download SKU: HX.391571 By Deniece Williams. This edition: Interactive Download. Pop,Rock. French Horn Solo. 1 pages. Published by Hal Leonard - Digital (HX.391571).
$2.99
2.74 €
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Cor
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Deniece Williams
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Let's Hear It For The Boy
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Hal Leonard - Digital
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SheetMusicPlus
Let's Hear It For The Boy
Ligne De Mélodie, (Paroles) et Accords
C Instrument,Piano and Keyboard - Interactive Download SKU: HX.410567 By Deniece Wi…
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C Instrument,Piano and Keyboard - Interactive Download SKU: HX.410567 By Deniece Williams. This edition: Interactive Download,scorch. Broadway,Pop,Rock. Lead Sheet / Fake Book. 1 pages. Hal Leonard - Digital #471700. Published by Hal Leonard - Digital (HX.410567).
$3.99
3.66 €
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Ligne De Mélodie, (Paroles) et Accords
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Deniece Williams
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Let's Hear It For The Boy
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Hal Leonard - Digital
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SheetMusicPlus
Let's Hear It For The Boy
Ligne De Mélodie, (Paroles) et Accords
Digital Download SKU: HX.475845 By Deniece Williams. Broadway,Pop,Standards. Real B…
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Digital Download SKU: HX.475845 By Deniece Williams. Broadway,Pop,Standards. Real Book - Melody/Chords/Lyrics. 2 pages. Published by Hal Leonard - Digital (HX.475845).
$1.99
1.83 €
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Ligne De Mélodie, (Paroles) et Accords
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Deniece Williams
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Let's Hear It For The Boy
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Hal Leonard - Digital
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SheetMusicPlus
Let's Hear It For The Boy
Small Ensemble - Level 1 - Digital Download SKU: A0.1028821 By Deniece Williams. By…
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Small Ensemble - Level 1 - Digital Download SKU: A0.1028821 By Deniece Williams. By Tom Snow. Arranged by Kathleen Pellington. A Cappella,Soul. Score and parts. 14 pages. Kathleen Pellington #4303897. Published by Kathleen Pellington (A0.1028821). SSA A Cappella Arrangement.
$6.99
6.41 €
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Deniece Williams
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Kathleen Pellington
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Let's Hear It For The Boy
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Kathleen Pellington
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SheetMusicPlus
Let's Hear It For The Boy
Saxophone Alto
(Alto Sax) - Interactive Download SKU: HX.387421 By Deniece Williams. This edition:…
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(Alto Sax) - Interactive Download SKU: HX.387421 By Deniece Williams. This edition: Interactive Download. Pop,Rock. Alto Sax Solo. 1 pages. Published by Hal Leonard - Digital (HX.387421).
$2.99
2.74 €
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Saxophone Alto
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Deniece Williams
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Let's Hear It For The Boy
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Hal Leonard - Digital
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SheetMusicPlus
Let's Hear It For The Boy
Saxophone Tenor
(Tenor Sax) - Interactive Download SKU: HX.387310 By Deniece Williams. This edition…
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(Tenor Sax) - Interactive Download SKU: HX.387310 By Deniece Williams. This edition: Interactive Download. Pop,Rock. Tenor Sax Solo. 1 pages. Published by Hal Leonard - Digital (HX.387310).
$2.99
2.74 €
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Saxophone Tenor
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Deniece Williams
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Let's Hear It For The Boy
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Hal Leonard - Digital
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SheetMusicPlus
Let's Hear It For The Boy
Violon
(Violin) - Interactive Download SKU: HX.391921 By Deniece Williams. This edition: I…
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(Violin) - Interactive Download SKU: HX.391921 By Deniece Williams. This edition: Interactive Download. Pop,Rock. Violin Solo. 1 pages. Published by Hal Leonard - Digital (HX.391921).
$2.99
2.74 €
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Violon
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Deniece Williams
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Let's Hear It For The Boy
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Hal Leonard - Digital
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SheetMusicPlus
Let's Hear It For The Boy (from Footloose) (arr. Alan Billingsley)
Chorale 3 parties
(SSA) - Digital Download By Deniece Williams. Arranged by Alan Billingsley. Film/TV, …
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(SSA) - Digital Download By Deniece Williams. Arranged by Alan Billingsley. Film/TV, Pop. Choral. 9 pages. Duration 180. Published by Hal Leonard - Digital
$2.25
2.06 €
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Chorale 3 parties
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Deniece Williams
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Let's Hear It For The Boy
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Hal Leonard - Digital
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SheetMusicPlus
Let's Hear It For The Boy
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
By Deniece Williams. Arranged by Gary Powell Nash. 24 pages. Published by Gary Powell …
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By Deniece Williams. Arranged by Gary Powell Nash. 24 pages. Published by Gary Powell Nash
$12.99
11.92 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Deniece Williams
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Let's Hear It For The Boy
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Gary Powell Nash
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SheetMusicPlus
Let's Hear It for the Boy - SSAA
Chorale SSAA
By Tom Snow, Dean Pitchford, Deniece Williams, Anne Raugh, and Deke Sharon. Choral. A Capp…
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By Tom Snow, Dean Pitchford, Deniece Williams, Anne Raugh, and Deke Sharon. Choral. A Cappella; Pop; Rock. Choral. 12 pages. Published by Hal Leonard - Digital Sheet Music (HX.299544). - Choral - A Cappella; Pop; Rock - Hal Leonard - Digital Sheet Music
$1.95
1.79 €
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Chorale SSAA
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Tom Snow, Dean Pitchford, Deniece Williams, Anne Raugh, and Deke Sharon
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Pop
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Let's Hear It for the Boy - SSAA
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Variations of Joy (for Brass Quintet)
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158382 Composed by…
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Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158382 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical. 49 pages. Https://gildedmusicpress.com/ #758665. Published by https://gildedmusicpress.com/ (A0.1158382). Brass quintet in six short movements. Duration, approx. 8 minutes. Movement I: “Family Vacations.†Fond memories of childhood vacations as well as leading out on road trips as a father, are reflected by the excitement of this movement. Feel free to reminisce on your own family trips as you listen to or perform this movement. Movement II: “Jovial Banter.†I was going to call this movement “Roughhousing,†but that is only part of what this playful piece conjures. Besides wrestling my five boys (with my one girl amusedly watching off to the side), friendly joking with friends about rival universities, and playing harmless pranks on friends and family, all seem to be rolled up into this truly jovial movement. It has its own tricks and surprises to one who has never heard it before. Movement III: “Holiday Foods.†This waltz displays more elegance and structure than most of the other movements. It primarily elicits memories of the distinctive Thrower Christmas feasts, for which we created a unique tradition. Our yuletide banquets hail from a different country every year. Through the decades, we have discovered and adopted many international favorites that we continue to enjoy! Note the middle section of the waltz gets a bit spicy… Movement IV: “Pets.†Though as an adult I have not had the pleasure of enjoying personal pets, my youngest son developed an affinity for YouTube videos about funny cats and dogs. Nevertheless, my favorite childhood pet was “Blackie,†the splendid satin feline featured on the cover of this work. Pets are often quirky and extremely fun, as is this music. If it doesn’t put a smile on the listener’s face, someone in the line of musical communication may have failed. Movement V: “Sharing God’s Wonders.†Slow and wondrous, the music in this movement yearns to be shared. The theme, though only somewhat related to the other variations, strays to its own content after the first motivic notes. The melody is borrowed from a 2010 band composition of mine titled “Tribute to Joel Robison,†an ancestor, and a Texas hero. One passion I have enjoyed through the years is family history, truly a God-given legacy from which I draw much inspiration. Movement VI: “Personal Triumphs.†Indeed a subject to celebrate, triumphs of self-mastery, conquests over difficult tasks, and achievements of monumental goals all prompt me to break out in triumphant fanfares!
$34.95
32.06 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Dr
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Variations of Joy
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https://gildedmusicpress.com/
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SheetMusicPlus
The Little Drummer Boy
Guitare notes et tablatures
Guitar - Level 1 - Digital Download SKU: A0.877943 By Josh Groban Featuring Andy Mc…
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Guitar - Level 1 - Digital Download SKU: A0.877943 By Josh Groban Featuring Andy Mckee. By Harry Simeone, Henry Onorati, Katherine K Davis, and Katherine K. Davis. Arranged by Rebecca Bogardus. Contemporary. Guitar Tab. 7 pages. Lillwy Publishing #5799647. Published by Lillwy Publishing (A0.877943). This Modern Single is part of the First Position Christmas collection. This collection is a guitar teacher's dream! Each selection in the collection includes the melody of a popular Christmas favorite, each carefully edited for the beginning guitarist. Each song has at least two versions - one with TAB and chords included, and one edited for classically trained guitarists, including fingering suggestions. For rhythmically complex songs, a simplified rhythmic version is also included. Special effort has been put into making the selections as accessible as possible to those in their first year of study, and all of the pieces are exclusively in first position with the exception of All I Want for Christmas, which has a few notes at the very end in second position. There is also a collection of 22 Classic Favorites available both at Sheet Music Plus and www.studiobogardus.com/arrangements. This Modern Single includes a coupon code that can be used on the Classic Favorites collection. Songs in the complete collection (those with asterisks* are Modern Singles and are NOT included in the Classic Favorites collection): Up On the Housetop O Come, All Ye Faithful Away in a Manger The Little Drummer Boy* Good King Wenceslas Jolly Old St. Nicholas We Three Kings We Wish You A Merry Christmas All I Want for Christmas (Is My Two Front Teeth)* Angels We Have Heard On High Blue Christmas* Feliz Navidad* Here Comes Santa Claus* Rudolph the Red-Nosed Reindeer* Silver Bells* The Chipmunk Song* Hark the Herald Angels Sing Jingle Bells O Christmas Tree O Holy Night Let It Snow* Winter Wonderland* Deck the Hall God Rest Ye Merry, Gentlemen O Come, O Come, Emmanuel O Little Town of Bethlehem Frosty the Snowman* Home for the Holidays* Rockin' Around the Christmas Tree* White Christmas* It Came Upon the Midnight Clear Joy to the World Silent Night The First Noel What Child Is This? Christmas Time* Coventry Carol Have Yourself a Merry Little Christmas*
$4.99
4.58 €
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Guitare notes et tablatures
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Josh Groban Featuring Andy Mckee
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Rebecca Bogardus
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The Little Drummer Boy
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Lillwy Publishing
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SheetMusicPlus
Let's Hear It For The Boy
Piano Facile
By Tom Snow, Dean Pitchford, and Footloose (Musical). Broadway; Musical/Show; Pop; Rock. E…
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By Tom Snow, Dean Pitchford, and Footloose (Musical). Broadway; Musical/Show; Pop; Rock. Easy Piano. 6 pages. Published by Hal Leonard - Digital Sheet Music
$3.99
3.66 €
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Piano Facile
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Tom Snow, Dean Pitchford, and Footloose
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Musical/Show
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Let's Hear It For The Boy
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Requiem
Orchestre de chambre
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Dow…
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
51.36 €
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Orchestre de chambre
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
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