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No Love Allowed
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Vous avez sélectionné:
No Love Allowed
Partitions à imprimer
13 partitions trouvées
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Schumann: Träumerei Op. 15 No. 7 for Piano Sextet
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Orchestre de chambre
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INTERMÉDIAIRE
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Robert Schumann
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James M
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Schumann: Träumerei Op. 1
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jmsgu3
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.550196 Composed by Robert Schumann. Arranged by James M. Guthrie. Holiday,Romantic Period,Standards. 10 pages. Jms...
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Chamber Orchestra - Level 3 - SKU: A0.550196 Composed by Robert Schumann. Arranged by James M. Guthrie. Holiday,Romantic Period,Standards. 10 pages. Jmsgu3 #4598499. Published by jmsgu3 (A0.550196). Op. 15 No. 7 Träumerei * Daydreaming * мечтательноÑÑ‚ÑŒ * αφηÏημάδα * snÄ›nà An unexpected and welcome recital encore.Schumann's Träumerei (Dreaming), Op. 15 No. 7, is a solo piano piece that is part of his Scenes from Childhood (Kinderszenen) set, which was his first attempt at writing a piano solo. The piece is significant for several reasons:Emotional Appeal: Träumerei is considered a masterpiece due to its great emotional appeal, combining both haunting sadness and nostalgic tenderness. This emotional depth has allowed the piece to touch many people's hearts and become a beloved piece of music worldwide.Universal Themes: The piece explores themes of childhood, memories, and feelings from a sentimental adult perspective. These themes are universally cherished and can be appreciated by adults and children.Cultural Impact: Träumerei has been used in various cultural contexts, such as in the 1947 Hollywood film Song of Love and the 1944 German biographical film on Schumann. In Russia, a hummed choral, a cappella version that became known as mourning music, was played annually during the Minute of Silence on Victory Day.Influence on Other Artists: The piece has inspired other artists, such as violinist Fenella Humphreys, who released an arrangement of Träumerei for violin in 2021.Schumann's Träumerei is a significant piece of music due to its emotional appeal, universal themes, cultural impact, and influence on other artists. Its timeless beauty and emotional depth continue to resonate with audiences worldwide.
$48.95
No Love Allowed
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Fanfare
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INTERMÉDIAIRE/AVANCÉ
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Soul/R&B
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Pop musique
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Rihanna
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Cody Myre and Geritt W
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B
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No Love Allowed
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T.U.X. People's Music
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SheetMusicPlus
By Rihanna. By Alexander Izquierdo, Elijah Elijah, Ernest Wilson, James Poyser, James Poysner, Robyn Fenty, Sean David Fenton, and Steve Wyreman. Arra...
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By Rihanna. By Alexander Izquierdo, Elijah Elijah, Ernest Wilson, James Poyser, James Poysner, Robyn Fenty, Sean David Fenton, and Steve Wyreman. Arranged by Cody Myre and Geritt W. Davenport. Hip- Hop, Pop, R & B. Score and parts. 40 pages. T.U.X. People's Music #695205. Published by T.U.X. People's Music
$75.00
Love Wedding Engagement and Anniversary
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Mariage/Ballade
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Connie Boss
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Connie Boss
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Love Wedding Engagement and An
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Connie Boss
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SheetMusicPlus
Alto Voice,Bass Voice,Soprano voice,Tenor Voice - Level 3 - SKU: A0.1362623 Composed by Connie Boss. Arranged by Connie Boss. Wedding. 132 pages. Connie...
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Alto Voice,Bass Voice,Soprano voice,Tenor Voice - Level 3 - SKU: A0.1362623 Composed by Connie Boss. Arranged by Connie Boss. Wedding. 132 pages. Connie Boss #947050. Published by Connie Boss (A0.1362623). This is a book of 14 songs that can be used for weddings or engagement or anniversary or all three. They range from duets to trios, but can be sung as solo or duets instead. Parts are written in treble clef, but tenor or bass could sing as well. Almost all of them have an optional instrument part for either flute or violin or cello and with piano accompaniment. There are original songs as well as public domain songs in the book. No copyright music is allowed in a collection. It's a great deal to buy the whole book, but you can look on here for a specific song if you prefer just to purchase a song or two.I couldn't put all the songs on the mp3 - you can hear them all in the YouTube link below.For questions or requests, email cdboss@cvalley.netSongs included in this book are1. Ave Maria - both Latin and English lyrics included2. At Last, Our Day is Here - wedding reception song3. Beautiful Dreamer4. Bless Our Love5. Do You Remember - Anniversary6. For Always7. How Beautiful (is the Love Between the Two of Us)8. How Can I Keep From Singing - new lyrics in parts and melody in part9. Lost and Found10. My Love, Our Love11. Pachelbel Canon Wedding Version - lyrics for wedding added12. Some Day Soon - Engagement or Wedding13. The Lord’s Prayer14. What Wondrous Love is This - Wedding lyrics added.
$15.00
Haydn: Concerto No. 2 in G major (Classical Wind Ensemble)
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Classique
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Franz Joseph Haydn
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Roar Kvam
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Haydn: Concerto No. 2 in G maj
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KVAMusic Edition
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SheetMusicPlus
Woodwind Ensemble - Level 4 - SKU: A0.768500 Composed by Franz Joseph Haydn. Arranged by Roar Kvam. Classical,Concert. 114 pages. KVAMusic Edition #3454...
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Woodwind Ensemble - Level 4 - SKU: A0.768500 Composed by Franz Joseph Haydn. Arranged by Roar Kvam. Classical,Concert. 114 pages. KVAMusic Edition #3454071. Published by KVAMusic Edition (A0.768500). About 1785, Haydn received a commission to write a series of concertos for Ferdinand IV, King of Naples and the Twin Sicilies. It was a very curious commission; for these concertos were to be written for a pair of strange instruments, the so-called Lira organizzata. The lira was a favourite instrument of the lazzaroni, the common people of Neaples: the Bourbon King, though often a rough and uncouth monarch, had a deep affection for his people. and for all their peculiar customs, and it is characteristic that his favourite musical instrument should have been that so beloved by his people. In a letter from the King of Neaples there are two points which explain much of the peculiar character of Haydn’s concertos for the King: the first is the restricted tonal range of all the works, C, F and G major are the only principal keys allowed. The second is the range of the lira itself which is about that of an oboe. Bearing these limitations in mind, Haydn did not attempt to write complicated double concertos, but rather ensemble music for two lire, two violins, two violas, cello and two horns, in other words, 9 solo instruments. (This edition: Flute, oboe, two clarinets, two basset horns, bassoon, contrabass and two horns). Moreover, he neatly combined the concerto form with that of the divertimento: there is often no strict division into solo and tutti, but constant intermingling of both. Wonderful music by Haydn, originally written for a mixed ensemble of 2 liras, 2 Horns and strings, but this is a transcription for a classical wind ensemble, a great companion for a concert together with i.e. Mozart’s Gran Partita, since it has almost the same instrumentation.
$33.00
Suite No. 1
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Giorgio Mirto
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Suite No. 1
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'...
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Guitar - Advanced - SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'OZ - Digital (ZZ.DZ-4308). Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.
$10.95
World Without Love
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2 Euphoniums et 2 Tubas
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INTERMÉDIAIRE
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Rock
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Peter And Gordon
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Christopher Kalstad
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World Without Love
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Christopher Kalstad
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SheetMusicPlus
Tuba Quartet Euphonium,Tuba - Level 3 - SKU: A0.793155 By Peter And Gordon. By John Lennon and Paul McCartney. Arranged by Christopher Kalstad. Chamber,...
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Tuba Quartet Euphonium,Tuba - Level 3 - SKU: A0.793155 By Peter And Gordon. By John Lennon and Paul McCartney. Arranged by Christopher Kalstad. Chamber,Pop,Rock. 14 pages. Christopher Kalstad #4742275. Published by Christopher Kalstad (A0.793155). A No. 1 Beatle hit never recorded by The Beatles! Paul McCartney wrote the song and allowed Peter and Gordon to record it with auspicious results. The tune is now arranged for EETT ensemble, and would make a wonderfully fun addition to any concert which features a tuba quartet.
$14.99
World Without Love
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Pop musique
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Peter And Gordon
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Christopher Kalstad
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World Without Love
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Christopher Kalstad
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SheetMusicPlus
Brass Ensemble Euphonium,Trombone,Tuba - Level 3 - SKU: A0.793270 By Peter And Gordon. By John Lennon and Paul McCartney. Arranged by Christopher Kalsta...
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Brass Ensemble Euphonium,Trombone,Tuba - Level 3 - SKU: A0.793270 By Peter And Gordon. By John Lennon and Paul McCartney. Arranged by Christopher Kalstad. Pop. Score and parts. 15 pages. Christopher Kalstad #6599189. Published by Christopher Kalstad (A0.793270). A No. 1 Beatle hit never recorded by The Beatles! Paul McCartney wrote the song and allowed Peter and Gordon to record it with auspicious results. The tune is now arranged for low brass ensemble (Trombones 1,2; Euphonium; Tuba), and would make a wonderfully fun addition to any concert.
$14.99
World Without Love
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Trio à Cordes: violon, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Rock
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Peter And Gordon
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Christopher Kalstad
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World Without Love
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Christopher Kalstad
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SheetMusicPlus
String Ensemble,String Trio Cello,Viola,Violin - Level 4 - SKU: A0.793285 By Peter And Gordon. By John Lennon and Paul McCartney. Arranged by Christophe...
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String Ensemble,String Trio Cello,Viola,Violin - Level 4 - SKU: A0.793285 By Peter And Gordon. By John Lennon and Paul McCartney. Arranged by Christopher Kalstad. Contemporary. Score and parts. 13 pages. Christopher Kalstad #6682617. Published by Christopher Kalstad (A0.793285). A No. 1 Beatle hit never recorded by The Beatles! Paul McCartney wrote the song and allowed Peter and Gordon to record it with auspicious results. The tune is now arranged for string trio and would make a wonderfully fun addition to any concert.
$14.99
World Without Love - Score Only
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Rock
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Peter And Gordon
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Christopher Kalstad
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World Without Love - Score Onl
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Christopher Kalstad
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SheetMusicPlus
Brass Quartet - Level 3 - SKU: A0.1423542 By Peter And Gordon. By John Lennon and Paul McCartney. Arranged by Christopher Kalstad. Pop,Rock. 5 pages. Ch...
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Brass Quartet - Level 3 - SKU: A0.1423542 By Peter And Gordon. By John Lennon and Paul McCartney. Arranged by Christopher Kalstad. Pop,Rock. 5 pages. Christopher Kalstad #1004783. Published by Christopher Kalstad (A0.1423542). A No. 1 Beatle hit never recorded by The Beatles! Paul McCartney wrote the song and allowed Peter and Gordon to record it with auspicious results. The tune is now arranged for EETT ensemble, and would make a wonderfully fun addition to any concert which features a tuba quartet. (Score only)Score and parts available at:World Without Love by John Lennon - Brass Quartet - Digital Sheet Music | Sheet Music Plus
$4.99
The End Of The World
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Skeeter Davis
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Timothy Stapay
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The End Of The World
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Timothy Stapay
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1200229 By Skeeter Davis. By Arthur Kent and Sylvia Dee. Arranged by Timothy Stapay. Broadway,Film/TV,Musical/Show,Pop,Ro...
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Piano Solo - Level 4 - SKU: A0.1200229 By Skeeter Davis. By Arthur Kent and Sylvia Dee. Arranged by Timothy Stapay. Broadway,Film/TV,Musical/Show,Pop,Rock,Standards. Score. 6 pages. Timothy Stapay #799031. Published by Timothy Stapay (A0.1200229). An arrangement of The End Of The World, a song covered by many famous artists. includingThe Carpenters; thanks to the phenomenal singing of Karen Carpenter. The End of the World was written by composer Arthur Kent and lyricist Sylvia Dee, who often worked as a team.The Carpenters (officially known as Carpenters were an American vocal and instrumental duo consisting of siblings Karen (1950–1983) and Richard Carpenter (born 1946). They produced a distinctive soft musical style, combining Karen's contralto vocals with Richard's harmonizing, arranging, and composition skills. During their 14-year career, the Carpenters recorded 10 albums along with many singles and several television specials. Karen possessed a powerful singing voice, and close miking brought out many nuances in her performances. Richard arranged their music to take advantage of this, though Karen had a three-octave vocal range. Richard's work with Karen was influenced by the music of Les Paul, whose overdubbing of the voice of wife and musical partner Mary Ford allowed her to be used as both the lead and harmony vocals.[6] By multi-tracking, Richard was able to use Karen and himself for the harmonies to back Karen's lead. The overdubbed background harmonies were distinctive to the Carpenters, but it was the soulful, engaging sound of Karen's lead voice that made them so recognizable. Record executive Mike Curb said it was Karen's voice that took the Carpenters above straight pop music into pop rock.  She was known as a one take wonder and could deliver a strong performance on the first attempt.Richard Carpenter was the creative force behind the Carpenters' sound. An accomplished keyboard player, composer and arranger, music critic Daniel Levitin called him one of the most gifted arrangers to emerge in popular music. The duo's smooth harmonies were not in step with contemporary music, which was dominated by heavy rock. Instead, the Carpenters strove for a rich and melodic sound, along the same vein as the Beach Boys and the Mamas & the Papas, but with greater fullness and orchestration including frequent use of small string and horn sections and introspective lyrics centred around relationships. Richard also admired the musicianship and arranging skills of Frank Zappa, and the two briefly met backstage at the Billboard Forum in 1975.End Of The World: Lyrics:Why does the sun go on shining?Why does the sea rush to shore?Don't they know it's the end of the world?'Cause you don't love me any moreWhy do the birds go on singing?Why do the stars glow above?Don't they know it's the end of the world?It ended when I lost your love[Bridge]I wake up in the morning and I wonderWhy everything's the same as it wasI can't understand, no, I can't understandHow life goes on the way it doesWhy does my heart go on beating?Why do these eyes of mine cry?Don't they know it's the end of the world?It ended when you said goodbyeWhy does my heart go on beating?Why do these eyes of mine cry?Don't they know it's the end of the world?It ended when you
$6.99
Sogno - For Piano Solo
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Piano seul
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Classique
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Francesco Paolo Tosti
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Christina Pepper
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Sogno - For Piano Solo
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Christina Pepper
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SheetMusicPlus
Piano Solo - SKU: A0.982521 Composed by Francesco Paolo Tosti. Arranged by Christina Pepper. Romantic Period. Score. 4 pages. Christina Pepper #6427135....
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Piano Solo - SKU: A0.982521 Composed by Francesco Paolo Tosti. Arranged by Christina Pepper. Romantic Period. Score. 4 pages. Christina Pepper #6427135. Published by Christina Pepper (A0.982521). Paolo Tosti, composed Sogno in 1886, one of many great Italian 'salon' songs. It was originally written for voice and piano, but has been re-arranged here as a piano solo so that pianists may enjoy playing this masterpiece themselves. The translated Italian text:I dreamt that you were on your knees Like a saint praying to the Lord. You were looking deep into my eyes, With a glowing look of love. You were speaking quietly, Asking me sweetly for forgiveness. That she be allowed just one glance, You begged, curled at my feet. I stayed silent and, with a strong will, Fought the irresistible desire. I had faced martyrdom and death; Still, I forced myself to say no. But then your lips touched my face, And my heart betrayed me. I closed my eyes, reached out to you; But I had been dreaming, and that beautiful dream vanished.
$5.95
Terbangnya Burung - Conductor's Score and Instrumental Parts
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Orchestre à Cordes
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Contemporain
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Arya Brahmantya Boga
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Terbangnya Burung - Conductor'
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Arya Brahmantya Boga
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SheetMusicPlus
String Orchestra - SKU: A0.493684 Composed by Arya Brahmantya Boga. Contemporary. Score and parts. 30 pages. Published by Arya Brahmantya Boga (A0.49368...
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String Orchestra - SKU: A0.493684 Composed by Arya Brahmantya Boga. Contemporary. Score and parts. 30 pages. Published by Arya Brahmantya Boga (A0.493684). A song based on the poem Terbangnya Burung by Sapardi Djoko Damono. This song depicted someone who must set his/her beloved one free from his/her boundaries; like a bird soaring up to the sky, no one, not even that person, could imagine where it will fly. He/she must be willing to set his/her beloved one free without knowing what he/she thinks or feels, while he himself/she herself is being swallowed by his/her own insecurity of their relationship.
$60.00
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No Love Allowed
