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Vous avez sélectionné:
Moth To A Flame
Partitions à imprimer
24 partitions trouvées
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1
Moth To A Flame
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.1394532 By Swedish House Mafia & Th…
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Piano Solo - Level 2 - Digital Download SKU: A0.1394532 By Swedish House Mafia & The Weeknd. By Abel Makkonen Tesfaye, Axel Hedfors, Carl Nordstrom, Sebastian Carmine Ingrosso, and Steve Angello. Arranged by The Weeknd. Multicultural,World. Score. 3 pages. Mr. Lu Lai #978018. Published by Mr. Lu Lai (A0.1394532). Moth To A Flame Piano score Swedish House Mafia / The Weeknd.
$4.99
4.61 €
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Piano seul
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Swedish House Mafia & The Weeknd
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The Weeknd
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Moth To A Flame
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Mr. Lu Lai
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SheetMusicPlus
Moth To A Flame
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.1352881 By Swedish House Mafia & Ad…
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Piano Solo - Level 2 - Digital Download SKU: A0.1352881 By Swedish House Mafia & Adriatique Feat. The We. By Abel Makkonen Tesfaye, Axel Hedfors, Carl Nordstrom, Sebastian Carmine Ingrosso, and Steve Angello. Arranged by The Weeknd. Contemporary,Multicultural,Pop,World. Score. 3 pages. Mr. Lu Lai #937702. Published by Mr. Lu Lai (A0.1352881). Moth To A Flame Piano score.
$4.99
4.61 €
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Piano seul
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Swedish House Mafia & Adriatique Feat
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The Weeknd
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Moth To A Flame
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Mr. Lu Lai
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SheetMusicPlus
Moth To A Flame
Piano Facile
Easy Piano - Digital Download SKU: A0.503630 By Swedish House Mafia And The Weeknd.…
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Easy Piano - Digital Download SKU: A0.503630 By Swedish House Mafia And The Weeknd. By Abel Makkonen Tesfaye, Axel Hedfors, Carl Nordstrom, Sebastian Ingrosso, and Steve Angello. Arranged by Maksym Shevchuk. Multicultural,Pop,World. Score. 4 pages. Published by Maksym Shevchuk (A0.503630). This arrangement is perfect for beginners. Enjoy).
$8.00
7.39 €
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Piano Facile
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Swedish House Mafia And The Weeknd
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Maksym Shevchuk
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Moth To A Flame
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Maksym Shevchuk
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SheetMusicPlus
Moth To A Flame
Fanfare
By Swedish House Mafia & The Weeknd. By Abel Makkonen Tesfaye, Axel Hedfors, Carl …
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By Swedish House Mafia & The Weeknd. By Abel Makkonen Tesfaye, Axel Hedfors, Carl Nordstrom, Sebastian Carmine Ingrosso, and Steve Angello. Arranged by abchmba. 20th Century, Pop. Score and parts. 47 pages. Arrangingband #800632. Published by arrangingband
$50.00
46.18 €
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Fanfare
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Swedish House Mafia & The Weeknd
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abchmba
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The Weeknd
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Moth To A Flame
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arrangingband
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SheetMusicPlus
Moth to a Flame by LittleTranscriber - Piano Solo
Piano seul
Sheet Music for Moth to a Flame by LittleTranscriber arranged for Instrumental Solo;Piano/…
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Sheet Music for Moth to a Flame by LittleTranscriber arranged for Instrumental Solo;Piano/Chords in C Minor. Digital sheet music from Musicnotes. --
$5.99
5.53 €
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Piano seul
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Piano Solo
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Musicnotes
Moth to a Flame by KimBo - Piano Solo
Piano seul
Sheet Music for Moth to a Flame by KimBo arranged for Instrumental Solo;Piano/Chords in C …
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Sheet Music for Moth to a Flame by KimBo arranged for Instrumental Solo;Piano/Chords in C Minor. Digital sheet music from Musicnotes. --
$3.99
3.68 €
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Piano seul
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Piano Solo
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Musicnotes
Moth to a Flame [easy] by PHianonize - Piano Solo
Piano seul
Sheet Music for Moth to a Flame [easy] by Phianonize arranged for Instrumental Solo in C M…
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Sheet Music for Moth to a Flame [easy] by Phianonize arranged for Instrumental Solo in C Minor. Digital sheet music from Musicnotes. --
$5.79
5.35 €
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Piano seul
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Piano Solo
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Musicnotes
Moth to a Flame by The Theorist - Piano Solo
Piano seul
Sheet Music for Moth to a Flame by The Theorist arranged for Instrumental Solo;Piano/Chord…
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Sheet Music for Moth to a Flame by The Theorist arranged for Instrumental Solo;Piano/Chords in C Minor. Digital sheet music from Musicnotes. --
$9.99
9.23 €
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Piano seul
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Piano Solo
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Musicnotes
Moth to a Flame by Swedish House Mafia & The Weeknd - Piano/Vocal/Chords, Singer Pro
Piano, Voix
Sheet Music for Moth to a Flame by Swedish House Mafia & The Weeknd arranged for Piano…
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Sheet Music for Moth to a Flame by Swedish House Mafia & The Weeknd arranged for Piano/Vocal/Chords;Singer Pro in C Minor (Transposable). Digital sheet music from Musicnotes. --
$5.99
5.53 €
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Piano, Voix
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Piano/Vocal/Chords, Singer Pro
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Musicnotes
Moth to a Flame [simplified] by Music Lah - Piano Solo
Piano seul
Sheet Music for Moth to a Flame [simplified] by Music Lah arranged for Instrumental Solo;P…
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Sheet Music for Moth to a Flame [simplified] by Music Lah arranged for Instrumental Solo;Piano/Chords in D Minor. Digital sheet music from Musicnotes. --
$3.99
3.68 €
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Piano seul
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Piano Solo
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Musicnotes
Moth to a Flame by Music Lah - Piano Solo
Piano seul
Sheet Music for Moth to a Flame by Music Lah arranged for Instrumental Solo;Piano/Chords i…
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Sheet Music for Moth to a Flame by Music Lah arranged for Instrumental Solo;Piano/Chords in C Minor. Digital sheet music from Musicnotes. --
$5.79
5.35 €
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Piano seul
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Piano Solo
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Musicnotes
It Was Almost Like A Song
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1280638 By Ronnie Milsap. By Archie…
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Piano Solo - Level 4 - Digital Download SKU: A0.1280638 By Ronnie Milsap. By Archie Jordan and Hal David. Arranged by Timothy Stapay. Country,Film/TV,Singer/Songwriter,Standards,Wedding. Score. 4 pages. Timothy Stapay #872051. Published by Timothy Stapay (A0.1280638). A piano solo arrangement of the country-classic, It Was Almost Like A Song, famously sung by Ronnie MilsapIt Was Almost Like a Song is a song written by Hal David and Archie Jordan, and recorded by American country music singer Ronnie Milsap. It was released in May 1977 as the first single and title track from the album It Was Almost Like a Song. It became one of the greatest hits of his recording career upon its release in 1977. In July 1977, It Was Almost Like a Song was Milsap's eighth No. 1 song on the Billboard magazine Hot Country Songs chart. The song also became his first Billboard Hot 100 chart entry, peaking No. 16. and also on Billboard's Hot Adult Contemporary Singles chart, where it peaked at No. 7.It Was Almost Like a Song provided the basis for the title of Milsap's biography, Almost Like a Song, which he co-wrote with Tom Carter.Lyrics:Once in every lifeSomeone comes alongAnd you came to meIt was almost like a songYou were in my armsRight where you belongAnd we were so in loveIt was almost like a songJanuary through DecemberWe had such a perfect yearThen the flame became a dying emberAll at once you weren't hereNow my broken heartCries for you each nightAnd It's almost like a songBut it's much too sad to writeNow my broken heart.
$5.99
5.53 €
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Piano seul
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Ronnie Milsap
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Timothy Stapay
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It Was Almost Like A Song
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Timothy Stapay
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SheetMusicPlus
The Man Who Fights the Flames
Piano, Voix
Piano and voice - Digital Download SKU: LV.11133 Composed by Joe Maxwell. Firefight…
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Piano and voice - Digital Download SKU: LV.11133 Composed by Joe Maxwell. Firefighters, Fire engines & equipment, Heroes, Courage, Fathers & children, Spouses, Rescues, Death, Grief. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.11133). The Man Who Fights the Flames. Words and Music by Joe Maxwell. Published 1904 by Shapiro, Remick and Company, Proprietors of The Whitney Warner Pub. Co., 45 West 28th Street in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Firefighters, Fire engines & equipment, Heroes, Courage, Fathers & children, Spouses, Rescues, Death, Grief. First line reads A fair little miad, to her fond mother sighed, why must daddy leave you and me.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.53 €
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Piano, Voix
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Joe Maxwell
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The Man Who Fights the Flames
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Patios de Córdoba
Guitare
Solo Guitar - Level 2 - Digital Download SKU: A0.594506 Composed by Traditional. Ar…
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Solo Guitar - Level 2 - Digital Download SKU: A0.594506 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional,World. Individual part. 5 pages. Richard Hirsch #203776. Published by Richard Hirsch (A0.594506). An arrangement of the Flamenco Soleares style (palo) for the dance (baile). The musical material for the arrangement is taken from standard traditional themes for the Soleares style of Flamenco. The arrangement is meant for guitarists and students of guitar that are new to Flamenco and want to learn the basics for one of the most important palos in Flamenco. The arrangement can be used to accompany a solo dance, customary in serious (jondo) Flamenco, often performed by a woman dancer. The Soleares rhythm consists of a repetition of a twelve beat phrase the Flamencos refer to as a compás where accents fall on the third, sixth, eight, tenth, and twelfth beats of the phrase (1 2 3 4 5 6 7 8 9 10 11 12). I notate the compás as a series of five measures that comprises two 3/4 measures followed by three 2/4 measures. Throughout the notation there is, therefore, a fluctuating between two measures in 3/4 and three measures in 2/4 time. The first beat of the compás falls on the second beat of the first 3/4 measure in the series and the first accented beat falls on the first beat of the second 3/4 measure. The sixth, eight, and tenth accented beats fall on the first beats of the 2/4 measures in the series. The twelfth beat falls on the first beat of the next series beginning with a 3/4 measure. Notating the compás in this manner allows the guitarist a total grasp of the underlying structure of the music, something that is often lost in other notations I have studied for Soleares. A command of the compás is essential for the guitarist to be able to work with Flamenco singers and dancers. The Soleares is a stately dance that moves at a moderate pace, but often ends in a finale (macho por BulerÃas) that is more than twice as fast as the first sections of the dance. The finale also contains a key change from the Phrygian mode of the llamadas and corridas to the key of E major. The arrangement contains essential basic techniques for Flamenco guitar, the rasqueado, the legato with hammering on, the four finger tremolo that rips at the strings before a full chord with the thumb, alzapúa where the thumb strikes in triplets down, up, down in rapid succession, etc. Students should dedicate themselves to a close and careful study of the notation to gain full mastery of these techniques. The arrangement consists of several sections, the llamadas which are calls to the dancer to take the stage, corridas where the dancer moves in a circle executing various heel and toe steps together with hand, arm, and body gestures, and the macho where the dance ends in a storm of stamping and a fit of wild abandon. The corrida sections consist of melodies Flamencos call “falsetasâ€. One of these is simply a series of broken chords while another is a melody taken from a song called “Caña†that is a member of the Soleares family. The notation ends, as is prescribed for the dance, on the tenth beat of the last compás (the first beat of the last 2/4 measure in the last five measure series). The Soleares was the first palo my maestro Juan González “Triguito†introduced me to in my studies with him in Madrid in the late 1960’s and is considered to be the “mother†of true forms of Flamenco. The title of the arrangement is in celebration of the beautiful patios of Córdoba, home of the Flamenco palo Soleares.
$3.99
3.68 €
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Guitare
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Traditional
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Richard Hirsch
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Patios de Córdoba
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Richard Hirsch
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SheetMusicPlus
Tuba solo - "And Can It Be?" Theme and Variations
Tuba
Piano,Tuba - Level 3 - Digital Download SKU: A0.844352 Composed by Lyrics: Charles …
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Piano,Tuba - Level 3 - Digital Download SKU: A0.844352 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan Cutchen. Christian,Easter,Sacred,Spiritual. Score and part. 15 pages. Dan Cutchen Music #4285469. Published by Dan Cutchen Music (A0.844352). This arrangement of And Can It Be That I Should Gain? is for tuba solo and piano.A theme and variation treatment is used. For a piano background Mp3 track, search for: Tuba - And Can It Be? Piano Accompaniment, Dan CutchenTime: approximately 6:00To contact Dan Cutchen, go to:Facebook: https://www.facebook.com/merry1722/dancutchen.com: http://www.dancutchen.com/contactAnd Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley. And Can It Be was written in 1738 to celebrate Wesley's conversion, which he regarded as having taken place on May 21 of that year.This beautiful hymn has been popular and enduring.And Can It Be That I Should Gain is perhaps one of the most joyfully poignant hymns penned by Charles Wesley (1707-1788). On Whitsunday (Pentecost), May 21, 1738, three days before his brother John experienced his heart strangely warmed,’ Charles was convalescing in the home of John Bray, a poor mechanic, when he heard a voice saying, In the name of Jesus of Nazareth, arise, and believe, and thou shalt be healed of all thy infirmities. The voice was most likely Mr. Bray’s sister who felt commanded to say these words in a dream.Anglican hymn writer Timothy Dudley-Smith, notes that the following then happened:Charles got out of bed and opening his Bible read from the Psalms: He have put a new song in my mouth, even praise unto our God, followed by the first verse of Isaiah 40, Comfort ye, comfort ye my people, saith your God. He wrote in his journal, I have found myself at peace with God, and rejoiced in the hope of love Christ (Dudley-Smith, 1987, 1).The statement from Mr. Bray’s sister sparked within Charles a conviction like he had never felt before. Moved and convicted in spirit, Charles wrestled with these words until he came to rest in his faith, knowing that it is by faith we are saved (Ephesians 2:8).Soon after this conversion experience, he wrote two hymns in celebration of the amazing love he had come to know: And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin? (United Methodist Hymnal, 342)There has been some debate as to which hymn was written first, but most current scholarship accepts the latter as the first hymn written by Charles after his conversion experience. No matter its place in the chronology of Wesley's output, And Can It Be has been and remains one of his most remarkable hymns, expressing like no other the rapturous joy of receiving salvation.And Can It Be That I Should Gain. Hymnary.org, https://hymnary.org/text/and_can_it_be_that_i_should_gainDudley-Smith, Timothy. A Flame of Love: A Personal Choice of Charles Wesley’s Verse. London: Triangle SPCK, 1987.Timothy Dudley-Smith. And can it be that I should gain. The Canterbury Dictionary of Hymnology. Canterbury Press, accessed May 29, 2018, http://www.hymnology.co.uk/a/and-can-it-be-that-i-should-gain.Young, Carlton R. And Can It Be That I Should Gain. Companion to the United Methodist Hymnal. Abingdon Press, 1993.(Taken from: History of Hymns: And Can It Be That I Should Gain by DeAndre Johnson found at https://www.umcdiscipleship.org/resources)https://youtu.be/7-Qdg7QK.
$6.00
5.54 €
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Tuba
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Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825
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Dan Cutchen
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Tuba solo - "And Can It Be?" Theme and Variations
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Dan Cutchen Music
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SheetMusicPlus
Cello - "And Can It Be?" Theme and Variations
Violoncelle, Piano
Cello,Piano - Level 3 - Digital Download SKU: A0.844351 Composed by Lyrics: Charles…
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Cello,Piano - Level 3 - Digital Download SKU: A0.844351 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan Cutchen. Christian,Gospel,Sacred,Spiritual. Score and part. 15 pages. Dan Cutchen Music #4281895. Published by Dan Cutchen Music (A0.844351). This arrangement of And Can It Be That I Should Gain? is for cello solo and piano.A theme and variation treatment is used. For a piano background Mp3 track, search for: Cello - And Can It Be? Piano Accompaniment, Dan CutchenTime: approximately 6:00And Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley. And Can It Be was written in 1738 to celebrate Wesley's conversion, which he regarded as having taken place on May 21 of that year.This beautiful hymn has been popular and enduring.And Can It Be That I Should Gain is perhaps one of the most joyfully poignant hymns penned by Charles Wesley (1707-1788). On Whitsunday (Pentecost), May 21, 1738, three days before his brother John experienced his heart strangely warmed,’ Charles was convalescing in the home of John Bray, a poor mechanic, when he heard a voice saying, In the name of Jesus of Nazareth, arise, and believe, and thou shalt be healed of all thy infirmities. The voice was most likely Mr. Bray’s sister who felt commanded to say these words in a dream.Anglican hymn writer Timothy Dudley-Smith, notes that the following then happened:Charles got out of bed and opening his Bible read from the Psalms: He have put a new song in my mouth, even praise unto our God, followed by the first verse of Isaiah 40, Comfort ye, comfort ye my people, saith your God. He wrote in his journal, I have found myself at peace with God, and rejoiced in the hope of love Christ (Dudley-Smith, 1987, 1).The statement from Mr. Bray’s sister sparked within Charles a conviction like he had never felt before. Moved and convicted in spirit, Charles wrestled with these words until he came to rest in his faith, knowing that it is by faith we are saved (Ephesians 2:8).Soon after this conversion experience, he wrote two hymns in celebration of the amazing love he had come to know: And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin? (United Methodist Hymnal, 342)There has been some debate as to which hymn was written first, but most current scholarship accepts the latter as the first hymn written by Charles after his conversion experience. No matter its place in the chronology of Wesley's output, And Can It Be has been and remains one of his most remarkable hymns, expressing like no other the rapturous joy of receiving salvation.And Can It Be That I Should Gain. Hymnary.org, https://hymnary.org/text/and_can_it_be_that_i_should_gainDudley-Smith, Timothy. A Flame of Love: A Personal Choice of Charles Wesley’s Verse. London: Triangle SPCK, 1987.Timothy Dudley-Smith. And can it be that I should gain. The Canterbury Dictionary of Hymnology. Canterbury Press, accessed May 29, 2018, http://www.hymnology.co.uk/a/and-can-it-be-that-i-should-gain.Young, Carlton R. And Can It Be That I Should Gain. Companion to the United Methodist Hymnal. Abingdon Press, 1993.(Taken from: History of Hymns: And Can It Be That I Should Gain by DeAndre Johnson found at https://www.umcdiscipleship.org/resources)https://youtu.be/xCpG9mpfSFk
$6.00
5.54 €
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Violoncelle, Piano
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Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825
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Dan Cutchen
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Cello - "And Can It Be?" Theme and Variations
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Dan Cutchen Music
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SheetMusicPlus
Alto Sax - "And Can It Be?" Theme and Variations
Saxophone Alto et Piano
Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.844328 Composed by Lyrics…
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Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.844328 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan Cutchen. Easter,Gospel,Sacred,Spiritual. Score and part. 15 pages. Dan Cutchen Music #3115903. Published by Dan Cutchen Music (A0.844328). This arrangement of And Can It Be That I Should Gain? is for alto saxophone solo and piano.A theme and variation treatment is used. For a piano background Mp3 track, search for: Alto Sax - And Can It Be? Theme and Variations-Accompaniment Track, Dan CutchenTime: approximately 6:00And Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley. And Can It Be was written in 1738 to celebrate Wesley's conversion, which he regarded as having taken place on May 21 of that year. This beautiful hymn has been popular and enduring.And Can It Be That I Should Gain is perhaps one of the most joyfully poignant hymns penned by Charles Wesley (1707-1788). On Whitsunday (Pentecost), May 21, 1738, three days before his brother John experienced his heart strangely warmed,’ Charles was convalescing in the home of John Bray, a poor mechanic, when he heard a voice saying, In the name of Jesus of Nazareth, arise, and believe, and thou shalt be healed of all thy infirmities. The voice was most likely Mr. Bray’s sister who felt commanded to say these words in a dream.Anglican hymn writer Timothy Dudley-Smith, notes that the following then happened:Charles got out of bed and opening his Bible read from the Psalms: He have put a new song in my mouth, even praise unto our God, followed by the first verse of Isaiah 40, Comfort ye, comfort ye my people, saith your God. He wrote in his journal, I have found myself at peace with God, and rejoiced in the hope of love Christ (Dudley-Smith, 1987, 1).The statement from Mr. Bray’s sister sparked within Charles a conviction like he had never felt before. Moved and convicted in spirit, Charles wrestled with these words until he came to rest in his faith, knowing that it is by faith we are saved (Ephesians 2:8).Soon after this conversion experience, he wrote two hymns in celebration of the amazing love he had come to know: And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin? (United Methodist Hymnal, 342)There has been some debate as to which hymn was written first, but most current scholarship accepts the latter as the first hymn written by Charles after his conversion experience. No matter its place in the chronology of Wesley's output, And Can It Be has been and remains one of his most remarkable hymns, expressing like no other the rapturous joy of receiving salvation.And Can It Be That I Should Gain. Hymnary.org, https://hymnary.org/text/and_can_it_be_that_i_should_gainDudley-Smith, Timothy. A Flame of Love: A Personal Choice of Charles Wesley’s Verse. London: Triangle SPCK, 1987.Timothy Dudley-Smith. And can it be that I should gain. The Canterbury Dictionary of Hymnology. Canterbury Press, accessed May 29, 2018, http://www.hymnology.co.uk/a/and-can-it-be-that-i-should-gain.Young, Carlton R. And Can It Be That I Should Gain. Companion to the United Methodist Hymnal. Abingdon Press, 1993.(Taken from: History of Hymns: And Can It Be That I Should Gain by DeAndre Johnson found at https://www.umcdiscipleship.org/resources)https://youtu.be/BSX9yYcNY2E
$7.00
6.46 €
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Saxophone Alto et Piano
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Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825
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Dan Cutchen
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Alto Sax - "And Can It Be?" Theme and Variations
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Dan Cutchen Music
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SheetMusicPlus
Yesterday, When I Was Young (hier Encore)
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1213917 By Roy Clark. By Charles Az…
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Piano Solo - Level 5 - Digital Download SKU: A0.1213917 By Roy Clark. By Charles Aznavour and Herbert Kretzmer. Arranged by Timothy Stapay. Film/TV,Jazz,Multicultural,Singer/Songwriter,Standards,World. Score. 8 pages. Timothy Stapay #811114. Published by Timothy Stapay (A0.1213917). Yesterday When I was Young is a song composed by Georges Garvarentz and written by Charles Aznavour and released in September 1964. The original French title translates to Just yesterday or Not so long ago.It is considered one of Aznavour's greatest hits.The English-language lyrics, written by Herbert Kretzmer, tell of someone reflecting on his life, recalling how he had wasted his younger years.Lyrics:[Verse 1]Yesterday when I was youngThe taste of life was sweet as rain upon my tongueI teased at life as if it were a foolish gameThe way the evening breeze may tease a candle flameThe thousand dreams I dreamed, the splendid things I plannedI always built, alas, on weak and shifting sandI lived by night and shunned the naked light of dayAnd only now I see how the years ran away[Verse 2]Yesterday, when I was youngSo many drinking songs were waiting to be sungSo many wayward pleasures lay in store for meAnd so much pain my dazzled eyes refused to seeI ran so fast that time and youth at last ran outI never stopped to think what life was all aboutAnd every conversation I can now recallConcerned itself with me, me and nothing else at all[Verse 3]Yesterday the moon was blueAnd every crazy day brought something new to doI used my magic age as if it were a wandAnd never saw the waste and emptiness beyondThe game of love I played with arrogance and prideAnd every flame I lit too quickly, quickly diedThe friends I made all seemed somehow to drift awayAnd only I am left on stage to end the play[Outro]There are so many songs in me that won't be sungI feel the bitter taste of tears upon my tongueThe time has come for me to pay for yesterdayWhen I was youngYoung, young...
$5.99
5.53 €
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Piano seul
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Roy Clark
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Timothy Stapay
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Yesterday, When I Was Young
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Timothy Stapay
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SheetMusicPlus
Smoke Gets In Your Eyes
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.1225761 By The Platters. By Jerome …
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Piano Solo - Level 5 - Digital Download SKU: A0.1225761 By The Platters. By Jerome Kern and Otto Harbach. Arranged by Timothy Stapay. Broadway,Film/TV,Jazz,Musical/Show,Singer/Songwriter,Standards. Score. 8 pages. Timothy Stapay #821814. Published by Timothy Stapay (A0.1225761). Smoke Gets In Your Eyes is arranged as played by piano artist, Liberace.This version is from the rare early album Liberace At Home. Smoke Gets in Your Eyes is a show tune written by American composer Jerome Kern and lyricist Otto Harbach for the 1933 musical Roberta. The song was sung in the Broadway show by Tamara Drasin. Its first recorded performance was by Gertrude Niesen, who recorded the song with orchestral direction from Ray Sinatra, Frank Sinatra's second cousin,[1] on October 13, 1933. On October 30, 1946, Nat King Cole recorded the song in his trio with Oscar Moore on guitar and Johnny Miller on double bass, during a live broadcast from New York City.[10] Cole performed it on television in 1957 for The Nat King Cole Show. Władziu Valentino Liberace (May 16, 1919 – February 4, 1987) was an American pianist, singer, and actor. A child prodigy born in Wisconsin to parents of Italian and Polish origin, he enjoyed a career spanning four decades of concerts, recordings, television, motion pictures, and endorsements. At the height of his fame from the 1950s to 1970s, he was the highest-paid entertainer in the world!Lyrics below:They asked me how I knewMy true love was trueI of course repliedSomething here inside cannot be deniedThey said someday you'll find all who love are blindWhen your heart's on fire,You must realize, smoke gets in your eyesSo I chaffed them and I gaily laughedTo think they could doubt my loveYet today my love has flown away,I am without my love (without my love)Now laughing friends derideTears I cannot hideSo I smile and sayWhen a lovely flame dies, smoke gets in your eyes(Smoke gets in your eyes, smoke gets in your eyes)Smoke gets in your eyes
$8.99
8.3 €
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Piano seul
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The Platters
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Timothy Stapay
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Smoke Gets In Your Eyes
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Timothy Stapay
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SheetMusicPlus
The Fireman's Heart is Bold and Free. Descriptive Song and Chorus
Piano and voice (solo and SATB chorus) - Digital Download SKU: LV.11122 Composed by…
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Piano and voice (solo and SATB chorus) - Digital Download SKU: LV.11122 Composed by Benjamin Jepson. Fires, Smoke, Fire engines & equipment, Firefighters, Furniture, Infants, Rescues, Mothers & children, Heroes. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.11122). The Fireman's Heart is Bold and Free. Descriptive Song and Chorus. Composed by Benjamin Jepson. Published 1855 by Horace Waters, 333 Broadway in New York. Composition of sectional with chorus with piano and voice (solo and satb chorus) instrumentation. Subject headings for this piece include Fires, Smoke, Fire engines & equipment, Firefighters, Furniture, Infants, Rescues, Mothers & children, Heroes. First line reads When the lurid flame of night lights up the clear blue sky.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.53 €
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Benjamin Jepson
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The Fireman's Heart is Bold and Free. Descriptive Song and Chorus
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Come, Holy Spirit
Chorale SATB
Choral SATB Chorus - Digital Download SKU: H1.C5630DP Composed by Allen Pote. Where…
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Choral SATB Chorus - Digital Download SKU: H1.C5630DP Composed by Allen Pote. Where there is devotional music, God is always at hand with His gracious presence. -J.S. Bach. General Worship, Devotion. Octavo. 16 pages. Hope Publishing - Digital #C5630DP. Published by Hope Publishing - Digital (H1.C5630DP). Timothy Dudley-Smith & Allen Pote.Allen Pote sets to music the biblical account of the first day of Pentecost in this anthem for SATB choir and piano, with optional, reproducible flute and oboe parts which are included in the anthem. Allen Pote sets to music the biblical account of the first day of Pentecost in this anthem for SATB choir and piano, with optional, reproducible flute and oboe parts which are included in the anthem. Through the creative use of text painting Allen brings to life the mighty rushing wind and tongues of flames. The concluding section features a Timothy Dudley-Smith text bringing the anthem full circle to Christians of today with the prayer: Spirit of faith, by faith be mine; Spirit of truth in wisdom shine. Spirit of holiness divine, Spirit of Jesus, come! The flute and oboe parts are included.
$3.25
3 €
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Chorale SATB
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Allen Pote
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Come, Holy Spirit
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Hope Publishing - Digital
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SheetMusicPlus
Over The Rainbow
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.1165227 By Judy Garland. By E.Y. Y…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1165227 By Judy Garland. By E.Y. Yip Harburg and Harold Arlen. Arranged by Richard Hirsch. 20th Century,Broadway,Multicultural,Musical/Show,Standards,World. Individual part. 7 pages. Richard Hirsch #765578. Published by Richard Hirsch (A0.1165227). With inspiration in Isreal Kamakawiwo’ole’s Somewhere Over the Rainbow and What a Wonderful World mashup, I offer an arrangement of the song Over the Rainbow for solo acoustic guitar. In my childhood The Wizard of Oz was one of my favourite fairy tales, especially as I spent a few of my early years in the little town of Winfield Kansas where tornadoes were a constant threat. I still remember huddling in the cellar with my mother and little brother when a tornado warning had been broadcast.With this in mind, the first part of the arrangement is meant to resemble a whirlwind that takes us up to the dreamland of Oz portrayed in the slower second part. In the third part, we come back down to waking reality in another mirror image whirlwind. The arrangement has an afro-flamenco character with two tiers of rhythm. Tier one is the normal 4/4 rhythm with accents at 1 and 3. Tier two consists of accents falling on beats 2 and 2& and 3& of the 4 beat measures. Tier two can be highlighted by clapping or tapping with a table knife on a bottle at beats 2 and 2& and 3&, with the strongest accent on 3& (an upbeat). The piece ends with a chord of natural harmonics on the 3& upbeat. The natural harmonics in the rhythmic fingerpicking resembling a kalimba (thumb harp) add an African touch to the piece.The piece is within reach of advanced intermediate students of fingerstyle or classical acoustic guitar. Besides the polyrhythmic fingerpicking, in the second dreamland part the piece offers the opportunity to play a broken chord of right hand harmonics, usually a real hit with listening audiences. I give suggestions for left and right hand fingering where I think necessary. The suggested tempo is presto for the fast first and third parts, but they could be played even faster for dramatic effect. The slow dreamland second part should be played with the melody floating lazily over the beat.The piece is a good follow up to my arrangements, also available at SheetMusicDirect and SheetMusicPlus of Freight Train and What a Wonderful World that use the same fingerpicking techniques.
$4.99
4.61 €
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Guitare
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Judy Garland
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Richard Hirsch
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and 3&
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Over The Rainbow
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Richard Hirsch
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SheetMusicPlus
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