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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Not What It Was
Non classifié
309
Piano & claviers
Piano seul
177
Piano, Voix
78
Piano, Voix et Guitare
43
Piano Facile
20
Instruments en Do
16
2 Pianos, 4 mains
9
Orgue
9
1 Piano, 4 mains
4
Piano Trio: piano, violon, violoncelle
4
Piano Quatuor: piano, violon, alto, violoncelle
2
Piano grosses notes
2
Orgue, Trompette (duo)
1
Piano (partie séparée)
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Accordéon
1
2 Pianos, 8 mains
1
+ 12 instrumentations
Retracter
Guitares
Guitare notes et tablatures
48
Guitare
26
Ukulele
3
Basse electrique
2
2 Guitares (duo)
2
Piano, Guitare (duo)
1
Guitare, Violon, Violoncelle (trio)
1
Ligne De Mélodie, (Paroles) et Accords
1
Paroles et Accords
1
Banjo
1
Mandoline
1
4 Guitares (Quatuor)
1
+ 7 instrumentations
Retracter
Voix
Chorale SATB
81
Voix Alto, Piano
12
Chorale 3 parties
10
Chorale 2 parties
9
Chorale TTBB
5
Voix haute
4
Voix Tenor
2
Chorale SSAA
2
Chorale Unison
2
Voix Baryton, Piano
2
Voix duo, Piano
2
Voix duo
1
Voix Soprano, Piano
1
Chorale SSATTB
1
Voix basse, Piano
1
+ 10 instrumentations
Retracter
Vents
Flûte, Hautbois, Clarinette, Basson
37
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
22
Quatuor de Saxophones: 4 saxophones
19
Quatuor de Clarinettes: 4 clarinettes
18
Quintette de Saxophone: 5 saxophones
17
Ensemble de Clarinettes
13
Clarinette et Piano
11
Ensemble de saxophones
10
Hautbois (partie séparée)
10
Flûte traversière et Piano
9
Ensemble de Flûtes
9
Saxophone Tenor et Piano
8
Quatuor de Flûtes : 4 flûtes
8
2 Saxophones (duo)
8
Clarinette
8
Hautbois, Piano (duo)
8
2 Flûtes traversières (duo)
7
Saxophone Alto et Piano
7
Flûte traversière
7
Flute (partie séparée)
6
2 Clarinettes (duo)
6
3 Saxophones (trio)
6
3 Clarinettes (trio)
4
2 Flûte à bec (duo)
4
Saxophone Alto
4
Quintette de Flûte : 5 flûtes
4
Saxophone Soprano et Piano
4
Saxophone Baryton, Piano
3
Flûte à bec Soprano
3
Flûte, Clarinette, Cor, Basson (Quartet)
3
Quatuor de Flûtes à bec
3
Flûte, Clarinette (duo)
3
Saxophone (partie séparée)
3
Hautbois, Clarinette, Basson (trio d'anches)
3
Saxophone, Clarinette (duo)
2
Flûte, Alto et Piano
2
Cor Anglais
2
Flûte, Clarinette, Piano (trio)
2
Quintette de Clarinettes: 5 clarinettes
2
Saxophone Tenor
2
Clarinette, Guitare (duo)
2
Flûte, Saxophone (duo)
1
Flûte irlandaise
1
Flûte, Violoncelle, Guitare
1
2 Hautbois (duo)
1
Flûte, Hautbois, Piano (trio)
1
Flûte, Hautbois (duo)
1
Clarinette, Basson (duo)
1
Saxophone et Piano
1
Flûte et Guitare
1
Clarinette et Alto
1
Flûte à bec Alto, Piano
1
5 Flûtes à bec
1
Piccolo
1
Ensemble De Flûte à bec
1
Cor anglais, Piano
1
Hautbois, Basson (duo)
1
Clarinette Basse, Piano
1
Ocarina
1
Flûte à Bec
1
Clarinette, Violon (duo)
1
Trio de Flûtes: 3 flûtes
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Saxophone et Orgue
1
Flûte, Violoncelle
1
3 Flûtes à bec (trio)
1
Hautbois, Clarinette (duo)
1
+ 62 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
34
Quatuor de Cuivres : 2 trompettes, trombone, tuba
23
Quatuor de Cuivres
19
Cor
13
Trompette
7
Tuba
7
Ensemble de Trombones
6
Trombone
6
Trompette (partie séparée)
5
Ensemble de Trompettes
5
Trombone et Piano
4
Trompette, Piano
4
2 Trompettes (duo)
4
Cor et Piano
3
Quatuor de cuivres: 4 trompettes
2
4 Tubas
2
Cor Anglais
2
Ensemble de Cors
2
Quatuor de cuivres: 4 trombones
2
Euphonium, Piano (duo)
1
Trombone, Orgue
1
Trombone (partie séparée)
1
2 Tubas (duo)
1
Euphonium
1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
2 Cors (duo)
1
Cor anglais, Piano
1
2 Trombones (duo)
1
Trompette, Trombone (duo)
1
+ 24 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
58
Violon et Piano
22
Harpe
19
Violon
16
Violoncelle, Piano
15
Violoncelle
14
Alto, Piano
12
2 Violons (duo)
7
Alto seul
7
Violon, Alto (duo)
4
Ensemble de Violons
4
Trio à Cordes: violon, alto, violoncelle
4
Violon, Violoncelle (duo)
3
Contre Basse
3
Violon, Guitare (duo)
3
2 Violoncelles (duo)
3
2 Altos (duo)
2
Ensemble d'Altos
2
4 Contrebasses
2
Quatuor à cordes: 4 violons
2
Trio à Cordes: 2 violons, violoncelle
2
4 Violoncelles
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Harpe, Voix
2
Quatuor à cordes : 4 altos
1
Harpe, Trombone (duo)
1
Trio à Cordes: 3 violoncelles
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Trio à cordes: 3 violins
1
Alto (partie séparée)
1
Alto, Violoncelle (duo)
1
Violoncelle, Orgue
1
Trio à cordes: 3 altos
1
+ 28 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
60
Orchestre
35
Orchestre à Cordes
32
Ensemble de cuivres
17
Orchestre de chambre
11
Ensemble Jazz
10
Jazz combo
8
Cloches
4
Ensemble de Percussions
3
Fanfare
3
Marimba
2
Batterie
2
Vibraphone
2
Piano et Orchestre
1
+ 9 instrumentations
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DULCIMER
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FLUTE A DIX…
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GUITARE
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
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LATIN - BOSSA - WORL…
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METHODE : ETUDES
METHODE : TECHNIQUES
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OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
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POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
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Vous avez sélectionné:
Not What It Was
Partitions à imprimer
1 825 partitions trouvées
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1801
What Was I Made For?
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Guitare notes et tablatures
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INTERMÉDIAIRE
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Pop musique
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Film/TV
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Billie Eilish
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Daniel Roberts
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What Was I Made For?
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Daniel P Roberts
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1374764 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Daniel Roberts. 21st Century,Fil...
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Solo Guitar - Level 3 - SKU: A0.1374764 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Daniel Roberts. 21st Century,Film/TV,Pop,Singer/Songwriter. Individual part. 5 pages. Daniel P Roberts #959294. Published by Daniel P Roberts (A0.1374764). What Was I Made For? from the movie Barbie.Arranged for 6-string guitar with TABI used to float, now I just fall downI used to know but I'm not sure nowWhat I was made forWhat was I made for?Takin' a drive, I was an idealLooked so alive, turns out I'm not realJust something you paid forWhat was I made for?'Cause I, II don't know how to feelBut I wanna tryI don't know how to feelBut someday, I mightSomeday, I mightWhen did it end? All the enjoymentI'm sad again, don't tell my boyfriendIt's not what he's made forWhat was I made for?'Cause I, 'cause II don't know how to feelBut I wanna tryI don't know how to feelBut someday I mightSomeday I mightThink I forgot how to be happySomething I'm not, but something I can beSomething I wait forSomething I'm made forSomething I'm made for.
$4.99
What Was I Made For?
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Piano seul
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FACILE
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Film/TV
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Billie Eilish
#
Thomas Gunther
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What Was I Made For?
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Thomas Gunther Music Productions
#
SheetMusicPlus
Instrumental Solo - Level 2 - SKU: A0.1271184 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Thomas Gunther. Children,C...
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Instrumental Solo - Level 2 - SKU: A0.1271184 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Thomas Gunther. Children,Contemporary,Film/TV. Individual part. 4 pages. Thomas Gunther Music Productions #863576. Published by Thomas Gunther Music Productions (A0.1271184). About the arrangement This is pianist/arranger Thomas Gunther's beautiful and highly accurate piano solo arrangement of the 2023 Barbie Movie features Billie Eilish's song WHAT I WAS MADE FOR.  It includes even Billie's quiet humming passages.This solo piano version can be played all by itself, or with Billie's recording of the song.It is easy enough to learn for pianists that have no amazing techniqual skills, but can be challanging in different ways, as explained below. From the Arranger Thomas Gunther  The most challenging task when writing this solo piano arrangement of What I Was Made For was to notate Billie's rhythm accurately. Her melodic rhythm is very important as it supports the flow of the lyrics perfectly. Notating a singer's rhythm can unfortunately never be 100% perfect (notation is by definition quantized), but I think I got very close. An other challenge was to get the accompaniment sound like the original without stepping on the melody notes. Looking at my final version I think it is as good as it gets for a piano adaption of this highly emotional song.I really hope all you Billie Eilish fans out there will enjoy playing this arrangement! How difficult is it As mentioned earlier, the song looks simple, but to play it well there is a lot of things the pianist has to take care of. The most challenging aspect is to sustain some notes by either using clever fingering or employing the sustain pedal. Also, dynamics are really important, especially when ballancing the accompaniment against the melody. Fingering I included fingering numbers to give the pianist a starting point. But fingering is a highly subjective affaire. Every pianist should feel free to adapt her/his own fingering as see fit. Sustain pedal usage The sustain pedal usage is very important in this arrangement (I included sustain pedal markings for this very reason). For one, it helps sustaining some notes that can't be held otherwise, and of course to make the sound fuller (more cinematic). It is important to use the pedal to create a sense of space (distance). After all, the original recording uses a lot of reverb to achieve that. Chord Symbols I did not include pop chord symbols because the harmony to the the song is very simple and based around 4 diatonic chords. It would just cludder up the score. At PopJazzKeys.com/Barbie I talk a little bit about the chords.
$5.99
What It Is
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Guitare notes et tablatures
#
FACILE
#
Jonathan Davis
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What It Is
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Maja Roedenbeck
#
SheetMusicPlus
Guitar - Level 2 - SKU: A0.986094 By Jonathan Davis. By Gary Clark, Jonathan Davis, Lauren Christy, and Lauren Edwards. Arranged by Joachim Ribbentrop, ...
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Guitar - Level 2 - SKU: A0.986094 By Jonathan Davis. By Gary Clark, Jonathan Davis, Lauren Christy, and Lauren Edwards. Arranged by Joachim Ribbentrop, Maja Roedenbeck Schäfer. Contemporary,Rock. Guitar Tab. 4 pages. Maja Roedenbeck #6134555. Published by Maja Roedenbeck (A0.986094). I love this song. Saw Jonathan Davis live at Gruenspan, Hamburg, in June 2018. Had to wait until the end of the concert for an encore „What it is“. So when my guitar teacher suggested we arrange one of my favorite songs for fingerstyle solo guitar, this was my first choice. Our easy intermediate arrangement contains Intro, Verse and Chorus. Suitable for music lessons.
$4.99
What Kind Of Fool Am I?
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Guitare notes et tablatures
#
INTERMÉDIAIRE
#
Anthony Newley and Leslie Bric
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PianoSheetNow
#
and more
#
What Kind Of Fool Am I?
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PianoSheetNow
#
SheetMusicPlus
Guitar - Level 3 - SKU: A0.556816 Composed by Anthony Newley and Leslie Bricusse. Arranged by PianoSheetNow. 20th Century,Jazz,Pop. Guitar Tab. 4 pages....
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Guitar - Level 3 - SKU: A0.556816 Composed by Anthony Newley and Leslie Bricusse. Arranged by PianoSheetNow. 20th Century,Jazz,Pop. Guitar Tab. 4 pages. PianoSheetNow #5733471. Published by PianoSheetNow (A0.556816). What Kind of Fool Am I? is a popular song written by Leslie Bricusse and Anthony Newley and published in 1962. It was introduced by Anthony Newley in the musical Stop The World - I Want To Get Off. Bricusse and Newley received the 1961 Ivor Novello award for Best Song Musically and Lyrically, and the 1963 Grammy Award for Song of the Year. The song has been covered by many artists including Sammy Davis Jr, Andy Williams, Shirley Bassey, Perry Como, Frank Sinatra and more.For Guitar solo with classical, pop and jazz elements, or Guitar and voice.
$4.99
Yesterday, When I Was Young (hier Encore)
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Piano seul
#
AVANCÉ
#
Roy Clark
#
Timothy Stapay
#
Yesterday, When I Was Young
#
Timothy Stapay
#
SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1213917 By Roy Clark. By Charles Aznavour and Herbert Kretzmer. Arranged by Timothy Stapay. Film/TV,Jazz,Multicultural,Si...
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Piano Solo - Level 5 - 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
Waltz Op 69 No 2 (Arranged for Guitar)
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Guitare notes et tablatures
#
INTERMÉDIAIRE
#
Classique
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Frederic Chopin
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Brian Streckfus
#
Waltz Op 69 No 2
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Brian Streckfus
#
SheetMusicPlus
Guitar - Level 3 - SKU: A0.1177383 By Frederic Chopin. By FreÌdeÌric Chopin. Arranged by Brian Streckfus. 19th Century,Classical,Contemporary,Inst...
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Guitar - Level 3 - SKU: A0.1177383 By Frederic Chopin. By FreÌdeÌric Chopin. Arranged by Brian Streckfus. 19th Century,Classical,Contemporary,Instructional,Romantic Period. Guitar Tab. 6 pages. Brian Streckfus #776814. Published by Brian Streckfus (A0.1177383). Key: Changed from B minor to A minorCapo: 2 (If you want original key, but I wasn't a fan of capo 2; it felt like there was no bass notes.)1. Arranged for guitar. 2. Piano pedal markings removed 3. Phrase markings removed and opted for commas. 4. Re-harmonized 5. Key changed from B minor to A minor. 6. Slurs 7. Left hand fingers 8. Tablature9. Harmonics added when advantageous, but playing the regular note would work as well.10. Piano pedal markings removed and replaced with commas. It's a flaw of sheet music that slurs, ties, and phrase markings are all the same symbol, and having all three happening can clutter a score.Compromises This may sound obvious, but of course I had to make some alterations to make this flow properly on guitar. Many of the original chord inversions on the piano were not kept. However, many harmonies were kept intact as far as following the chord nomenclature name. Measure 50 was originally an A minor chord, the irony is that the F major suprise is an homage to Chopin anyways, suprised he didn't opt for it. To be honest, I don't like how there is a perfect authentic cadence in measure 50. I think modern audiences would want to clap too badly, so I believe that ending needs to be slightly messed up to propel the music forward, and give a sense that there is still a problem. The other chord that was changed was an E7b9 to a Ddim7 in measure 78. If you know your theory well, you'll realize these chords have the same exact function and nearly the same notes, it's just that Ddim7 flowed a bit better on guitar. I'd rather have guitarists play the rhythms correctly and with musicality, than have guitarist clunkily go though overly large chords in order to mantain historical accuracy. Measure 15 was hard to keep the original chord intact. A Bb/D with a G in the melody as a suspension sounds more like a g minor chord. That is cliche Chopinesque neopolitan moment so the Bb is crucial to mantain. Having some rough sort of Bbmaj7 or G minor chord while mantaining the melody seemed to sound the best even though the name of the chord might have gotten a little off. I tried chord charts, but they seemed messier than what it was worth. I also could have the denser tablature in the sheet music, but that does make it look 10x more intimidating. So this version is unique in that the tablature is my denser arrangement, whereas the sheet music would allow someone to quickly make a new arrangement. I like this ethos because most guitarists are likely to be much better at playing chord quickly when they don't have to have an exact voicing. This makes this arrangement easier to further perfect since I am naming the harmonies, which often isn't done in classical music.BackstoryThis is one of my favorite pieces, and also my favorite composer. I feel classical guitar repertoire is lacking easily playable music in the romantic style. Often, if it is romantic guitar music, it is extemely difficult and therefore only a select few can enjoy performing it. Also, I sometimes get my hopes up to find a romantic guitar composer, but then after listening, there's nothing quite like Chopin. Obviously, you will have to have some chops to play this since it's one of the most ambitious undertakings a guitarist could take, but it's also not so hard that you have to be train for a decade because I changed the key.
$1.99
What The World Needs Now Is Love
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Piano seul
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INTERMÉDIAIRE
#
Jackie DeShannon
#
Timothy Stapay
#
What The World Needs Now Is Lo
#
Timothy Stapay
#
SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1249719 By Jackie DeShannon. By Burt Bacharach and Hal David. Arranged by Timothy Stapay. Broadway,Film/TV,Musical/Show,P...
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Piano Solo - Level 3 - SKU: A0.1249719 By Jackie DeShannon. By Burt Bacharach and Hal David. Arranged by Timothy Stapay. Broadway,Film/TV,Musical/Show,Pop,Singer/Songwriter,Standards. Score. 4 pages. Timothy Stapay #844110. Published by Timothy Stapay (A0.1249719). What The World Needs Now Is Love is written in a relaxed waltz style.What the World Needs Now Is Love is a 1965 popular song with lyrics by Hal David and music composed by Burt Bacharach. First recorded and made popular by Jackie DeShannon, it was released on April 15, 1965, on the Imperial label after a release on sister label Liberty records the previous month was canceled. It peaked at number seven on the US Hot 100 in July of that year. In Canada, the song reached number one. The song's success caught the two songwriters completely by surprise, since they were very aware of the controversy and disagreements among Americans about the Vietnam War, which was the subtext for David's lyrics. Bacharach has continuously used the song as the intro and finale for most of his live concert appearances well into the 2000s. Lyrics:What the world needs now is love, sweet loveIt's the only thing that there's just too little ofWhat the world needs now is love, sweet love,No not just for some but for everyone.Lord, we don't need another mountain,There are mountains and hillsides enough to climbThere are oceans and rivers enough to cross,Enough to last till the end of time.What the world needs now is love, sweet loveIt's the only thing that there's just too little ofWhat the world needs now is love, sweet love,No, not just for some but for everyone.Lord, we don't need another meadowThere are cornfields and wheat fields enough to growThere are sunbeams and moonbeams enough to shineOh listen, lord, if you want to know.What the world needs now is love, sweet loveIt's the only thing that there's just too little ofWhat the world needs now is love, sweet love,No, not just for some but for everyone.No, not just for some, oh, but just for everyone.
$5.99
What am I Doing Here PVG
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Voix duo, Piano
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INTERMÉDIAIRE
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Steven H
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Ashley Ivers
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What am I Doing Here PVG
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Boothe Publishing
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SheetMusicPlus
Piano,Voice Duet Piano,Voice - Level 3 - SKU: A0.984013 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Christian,Pop. 6 pages. Boothe Publishin...
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Piano,Voice Duet Piano,Voice - Level 3 - SKU: A0.984013 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Christian,Pop. 6 pages. Boothe Publishing #4360965. Published by Boothe Publishing (A0.984013). One of my auntie's got killed coming home from work late one evening by a drunk driver who was not obeying the traffic signals. I remember thinking to myself that this wasn't fair. It wasn't right. This was the first time that someone close to me was ushered out of this world. I started looking at my own life. Was I ready to leave this world behind? My auntie didn't get to decide. One moment she was here. The next she was gone, leaving her children behind. As I looked at myself I noticed there were a lot of flaws in my character. I liked some things about myself, however, there were a lot of other character traits where I felt that I was lacking in integrity and honesty. The question, What am I doing here? made me want to correct those flaws so that I could feel good about meeting God when I leave this world. I have found that change is possible.
$3.99
What am I Doing Here Piano Minus Vocal
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Piano seul
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Pop musique
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Boothe Publishing
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Ashley Ivers
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What am I Doing Here Piano Min
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Boothe Publishing
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SheetMusicPlus
Piano - SKU: A0.1069966 Composed by Boothe Publishing. Arranged by Ashley Ivers. Pop. Accompaniment. Duration 183. Boothe Publishing #4633693. Published...
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Piano - SKU: A0.1069966 Composed by Boothe Publishing. Arranged by Ashley Ivers. Pop. Accompaniment. Duration 183. Boothe Publishing #4633693. Published by Boothe Publishing (A0.1069966). One of my auntie's got killed coming home from work late one evening by a drunk driver who was not obeying the traffic signals. I remember thinking to myself that this wasn't fair. It wasn't right. This was the first time that someone close to me was ushered out of this world. I started looking at my own life. Was I ready to leave this world behind? My auntie didn't get to decide. One moment she was here. The next she was gone, leaving her children behind. As I looked at myself I noticed there were a lot of flaws in my character. I liked some things about myself, however, there were a lot of other character traits where I felt that I was lacking in integrity and honesty. The question, What am I doing here? made me want to correct those flaws so that I could feel good about meeting God when I leave this world. I have found that change is possible.
$1.99
What Would Nina Simone Say? For Soprano Sax & Organ (9'50")
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Saxophone et Orgue
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AVANCÉ
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Contemporain
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Judith Cloud
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What Would Nina Simone Say? Fo
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Judith Cloud
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Organ,Soprano Saxophone - Level 5 - SKU: A0.981222 Composed by Judith Cloud. Contemporary. Score and parts. 24 pages...
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Instrumental Duet Instrumental Duet,Organ,Soprano Saxophone - Level 5 - SKU: A0.981222 Composed by Judith Cloud. Contemporary. Score and parts. 24 pages. Judith Cloud #6690537. Published by Judith Cloud (A0.981222). What Would Nina Simone Say? For Soprano Sax and Organ (9'50)Program NotesI became interested in Nina Simone in the spring of 2018. She was born Eunice Waymon in Tryon, North Carolina, my own hometown. I knew little about her while I was growing up. Later I heard she was an activist and the sentiment around town I observed was that there was far from a feeling of pride about who Nina Simone was. If that really was the case (and I have no proof of it) there was a dramatic change with the creation of The Nina Simone Project in 2006. I was still ignorant of this, having lived in Arizona for most of my adult life. But researching Simone led me to an immense feeling of pride for my hometown when I read about the support she had from the white community in the 1940’s. Without that encouragement and financial support, as well as artistic support from a local piano teacher, Muriel Mazzanovich, Mrs. Mazzy, as she was called and who Nina treasured and respected all of her life, Nina Simone would never have reached the world with her unique prodigious musical talent. She was a diva by all counts and her original compositions reflect a balance of words with music that is far superior to what her contemporaries were creating. A bronze sculpture of her by Zenos Frudakis now stands on Main Street in Tryon. How can you be an artist and not reflect the times? Simone asked in an interview. That to me is the definition of an artist. The feminist writer Germaine Greer declared Every generation has to discover Nina Simone. She is evidence that female genius is real. What would Nina Simone say today? I think she’d be mad as hell and screaming about revolution, probably still advocating for the use of violence. I’ve used some of Simone’s energetic and compelling motives in this composition. It is my own tribute to her genius and to how she gave to the world so much even though she was plagued with agonizing physical and mental ailments. That suffering seems to me an undercurrent in each video I have watched of her concerts. What I would give to have been in her presence for one of those concerts! She embodied music as an art form, revering her musical teachers, Bach, especially. That she never achieved her main goal of becoming the first female African-American classical pianist of world stature is perhaps not so sad when you think of how many more people she moved with her talent expressed in jazz and folk popular idioms. But she was prone to violence and many people, even those closest to her, were often fearful of her rage. She was misunderstood for so many years and it was only in the last two decades of her life that her moods were somewhat controlled through use of prescription drugs. The musical life that began for Eunice Waymon when she was seven years old playing the piano and organ for services at St. Luke’s C.M.E. Church (where her mother was the preacher) in Tryon, N.C. traversed many cities in many countries. She died at the age of 70 in 2003 in Carry-le-Rouet, France.
$15.00
Does Anybody Really Know What Time It Is?
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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INTERMÉDIAIRE
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Rock
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Chicago
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Michael Compton
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Does Anybody Really Know What
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Kreechur Kumfort Publishing
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 3 - SKU: A0.833865 By Chicago. By Robert Lamm. Arranged by Michael Compton. Pop,Rock. 16 pages. Kreechur Kumf...
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Woodwind Ensemble,Woodwind Quintet - Level 3 - SKU: A0.833865 By Chicago. By Robert Lamm. Arranged by Michael Compton. Pop,Rock. 16 pages. Kreechur Kumfort Publishing #6448459. Published by Kreechur Kumfort Publishing (A0.833865). Does Anybody Really Know What Time It Is? is a song that was included on Chicago's 1969 debut album Chicago Transit Authority and released as a single in 1970. According to composer Robert Lamm, it was the first song recorded for the album. The song was not released as a single until two tracks from the band's second album, Make Me Smile and 25 or 6 to 4, had become hits. It reached No. 7 in the U.S. and No. 2 in Canada. Said Lamm: [It's] not a complicated song, but it’s certainly a quirky song. But that was my intent. I wanted to write something that wasn’t ordinary, that wasn’t blues-based, that didn’t have ice cream changes, and would allow the horns to shine and give Lee Loughnane a solo. This arrangement is for saxophone quintet (soprano, alto, two tenors, and baritone) and the melody is passed around the ensemble a bit. The arrangement is suitable for intermediate level players.
$15.00
What Do I Know?
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Pop musique
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Ed Sheeran
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Paul Burnell
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What Do I Know?
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Paul Burnell
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SheetMusicPlus
Small Ensemble,Strings - Level 3 - SKU: A0.835800 By Ed Sheeran. By Ed Sheeran, Foy Vance, and Johnny McDaid. Arranged by Paul Burnell. Contemporary. Sc...
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Small Ensemble,Strings - Level 3 - SKU: A0.835800 By Ed Sheeran. By Ed Sheeran, Foy Vance, and Johnny McDaid. Arranged by Paul Burnell. Contemporary. Score and parts. 33 pages. Paul Burnell #3494245. Published by Paul Burnell (A0.835800). What Do I Know?, words and Music by Ed Sheeran, Foy Vance and Johnny McDaid, arranged by Paul Burnell for instruments in four parts.Duration 3:55The arrangement is suitable for multiple quartet combinations with parts available (and potential instrumentations suggested) as follows:Part 1: C, Eb (flute, oboe, alto recorder, Eb clarinet, violin 1)Part 2: C, Bb (oboe, tenor recorder, Bb clarinet, violin 2)Part 3: C - alto & bass clefs, Bb, Eb, F (Bb clarinet, bass recorder, alto saxophone, horn in F, viola) Part 4: C - bass clef, Bb, F (bassoon, great bass recorder, tenor saxophone, horn in F, 'cello)Any other appropriate instruments, even if not suggested above, may play.Although the score is presented with layout appropriate for string quartet this does not indicate a preferred instrumentation.Examples of the 'clicks/taps etc.' indicated by the X noteheads at the beginning of the piece in Part 2, and subsequently in the other parts, include:Woodwind - instrument key clicks or slaps,Brass - tapping the instrument bell with fingernail, 'popping' the mouthpiece,Strings - tapping the body of the instrument with fingers.In this arrangement the song has been transposed from the original key of E major to C major.Programme note:'What Do I Know?' is a song by the English singer-songwriter Ed Sheeran. It was included on his third studio album '÷' (pronounced 'divide'). After the album's release in 2017 the song was released as a single and charted at number 9 on the UK Singles Chart.
$12.99
I Didn't Know What Time It Was
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Piano Facile
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DÉBUTANT
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Charlie Parker
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DecPlay Ltd
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I Didn't Know What Time It Was
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DecPlay Ltd
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SheetMusicPlus
Piano - Level 1 - SKU: A0.1379725 By Charlie Parker. By Lorenz Hart and Richard Rodgers. Arranged by DecPlay Ltd. 20th Century,Jazz,Standards. DecPlay P...
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Piano - Level 1 - SKU: A0.1379725 By Charlie Parker. By Lorenz Hart and Richard Rodgers. Arranged by DecPlay Ltd. 20th Century,Jazz,Standards. DecPlay Piano. 3 pages. DecPlay Ltd #964431. Published by DecPlay Ltd (A0.1379725). You have great taste - this is a great song! If you’re not a DecPlay student yet, you might be wondering why the song sheet isn’t using traditional notation or chord names …..This patented form of song sheet from DecPlay® enables songs to be learnt much quicker and more easily than using traditional notation or guitar chords. The simple numbers, colours and patterns method enables rapid results on piano.The same song sheet enables beginner and advanced playing styles, in any musical key.For more details and a FREE video lesson go to https://decplay.com(This type of sheet music is known as piano tabs or PianoTabz and includes lyrics, melody and chords).
$3.99
One Sows for the Benefit of Another Age - Orchestra
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Orchestre
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AVANCÉ
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Contemporain
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Kyle Vanderburg
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One Sows for the Benefit of An
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NoteForge
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1002835 Composed by Kyle Vanderburg. Contemporary. Score and parts. 112 pages. NoteForge #5793397. Published by NoteF...
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Full Orchestra - Level 5 - SKU: A0.1002835 Composed by Kyle Vanderburg. Contemporary. Score and parts. 112 pages. NoteForge #5793397. Published by NoteForge (A0.1002835). I started writing what would become One Sows for the Benefit of Another Age in 2013, as I was sketching ideas for what became a piano trio. I liked what I had created, but two things became evident: The piece was destined to be for orchestra, and I was not good enough as a composer to finish it. Over the next seven years, I kept returning to this piece in my spare time, adding some sections, tweaking some others, and at some point I gained the experience to finish it. But the trade-off was that I no longer had the time. At least until Spring of 2020, when the COVID-19 pandemic put most of my projects on hold, and I was able to return to--and finish--the work.The title came last. My ideas while I was writing centered around Americana (I was listening to a lot of Copland, Barber, and Ives) and infusing my history and experience in the Ozarks and on the plains. I knew I wanted to make use of the idea of illumination, of dawn. I wanted to start in the shadows and end aglow. The darkness was such a defining feature that my working title was Aegri Somnia, loosely translated from Latin as troubled dreams. As I continued working, I realized that the focus wasn't the darkness--the focus was the change.I discuss change a lot in my teaching. Students often see change as transformative change--massive, radical, sweeping change, like winning the lottery, or winning an audition. Transformative change is easy--it usually involves hoping for a situation or a Deus ex Machina, and if it happens, it benefits us immediately. Iterative change, however--small, repeated, incremental change that builds up over time--is hard. An extra half-hour of work every day, a little extra contributed to savings every month, these changes add up over time and become significant. But it requires intention and action, and it doesn't reap immediate benefits. It may not end up benefitting us at all.One Sows changes iteratively. It starts from a dark place, but is sprinkled with seeds of hope. A descending motive introduced in the violins brings us out of the darkness, albeit slowly. The idea spreads, develops, and eventually becomes part of a new idea, a new paradigm, that takes over.In searching for a title, I came across Serit ut alteri saeclo prosit, North Dakota's Latin state motto, whose English translation is the title of this work. It's a recent addition to the North Dakota statutes, but a timeless message. Our work isn't finished yet.
$49.99
What A Friend We Have In Jesus - Classical Guitar
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Guitare notes et tablatures
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FACILE
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Ron k Wiggins
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Ron k Wiggins
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What A Friend We Have In Jesus
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WigMusic
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SheetMusicPlus
Guitar - Level 2 - SKU: A0.1258751 By Ron k Wiggins. By Charles Crozat Converse - 1868. Arranged by Ron k Wiggins. Christian,Classical,Country,Religious...
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Guitar - Level 2 - SKU: A0.1258751 By Ron k Wiggins. By Charles Crozat Converse - 1868. Arranged by Ron k Wiggins. Christian,Classical,Country,Religious. Guitar Tab. 2 pages. WigMusic #852011. Published by WigMusic (A0.1258751). The poem for this was originally written in 1855 by Joseph M Scriven. The poem was then set to music in 1868 by Converse.This arrangement makes use of the alternating bass technique made popular by Chet Atkins. This makes it a fun piece to play. Â If you are already competent with this technique this is an easy piece to play. It is also a good arrangement to apply the technique to when just learning it.
$1.99
Please, Please, Please, Let Me Get What I Want
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Flûte et Guitare
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FACILE
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Pop musique
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The Smiths
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Derek Hasted
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Please, Please, Please, Let Me
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Derek Hasted
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SheetMusicPlus
Flute,Guitar,Instrumental Duet - Level 2 - SKU: A0.1345929 By The Smiths. By Johnny Marr and Steven Morrissey. Arranged by Derek Hasted. Pop. 12 pages. ...
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Flute,Guitar,Instrumental Duet - Level 2 - SKU: A0.1345929 By The Smiths. By Johnny Marr and Steven Morrissey. Arranged by Derek Hasted. Pop. 12 pages. Derek Hasted #930830. Published by Derek Hasted (A0.1345929). PLEASE PLEASE PLEASE (The Smiths) - accessible piece for FLUTE and GUITARIntended for classical or acoustic guitar, though sometimes it gets listed erroneously under electric guitar.The guitar part is supplied in “Notation only†and “Notation + TABâ€Derek Hasted writes This song burst back into my consciousness when it was played as a Viennese Waltz in the BBC TV program “Strictly Come Dancingâ€.The ponderous, downbeat, original became light, inspiring, uplifting and very beautiful.Here’s the version that was on TV - the same key as the original but slightly shorter.The flute takes the tune, the guitar (with the bottom string tuned to D) takes the accompaniment.It’s ideal for an inexperienced duo - the tune, believe it or not, only uses 5 different notes!The use of 6=D tuning for the guitar dramatically reduces the number of barré chords and makes the guitar part much easier on the left hand.I hope you enjoy playing this piece!This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.
$4.99
But It Was Just Another Squirrel.
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Classique
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Damien Gauci
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But It Was Just Another Squirr
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Damien Gauci
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1495486 By Damien Gauci. By Damien Gauci. Classical,Contemporary. Score. 5 pages. Damien Gauci #1072003. Published by Dam...
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Piano Solo - Level 4 - SKU: A0.1495486 By Damien Gauci. By Damien Gauci. Classical,Contemporary. Score. 5 pages. Damien Gauci #1072003. Published by Damien Gauci (A0.1495486). What a relief! It was just another squirrel all along! Whiskers and the other squirrel are cautious to meet each other but they walk up to each other slowly and carefully, ready to run at any moment in case something happens. Whiskers thinks to himself about all that fear and chaos he felt earlier that was all for nothing, he is very relieved to find out that the scary creature he was so scared about was just another squirrel.Whiskers doesn’t have many other friends so he’s happy to find someone else in these woods to become friends with. The scary abandoned house that they’re in seems to fade away now that he feels comfortable with this other squirrel. What an adventure it has been so far, from finding this abandoned house to running for his life to making a new friend. I wonder what her name is?
$6.00
IN THE BEGINNING WAS THE WORD (SSATB) – John 1:1-18
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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Michael A
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IN THE BEGINNING WAS THE WORD
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M.A. Morizio
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.926671 Composed by Michael A. Morizio. Christian,Sacred. Octavo. 24 pages. M.A. Morizio #3588445. Published by M...
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Choral Choir (SATB) - Level 3 - SKU: A0.926671 Composed by Michael A. Morizio. Christian,Sacred. Octavo. 24 pages. M.A. Morizio #3588445. Published by M.A. Morizio (A0.926671). My dear friend, and Pastor Don Colageo and I cut our teeth together with this piece when we decided to dive headlong into this cycle of Seven Anthems to Christ. It was the second song of the (SEVEN ANTHEMS TO CHRIST) cycle that I had composed, but the first using his Greek translation(s). It eventually would become the last piece to grace the cycle of seven in order of my musical presentation sequence. In fact, this known 1st century Hymn to Christ spans 18 verses of the first chapter of the Gospel of John. My setting of the anthem is seven plus minutes long in performance length. The song's length was not on purpose, but the number seven does have Biblical significance (seven days of creation, seven golden lamp stands, etc.) The number seven is also known among Biblical scholars as the number of Holiness and Perfect Creation. Since this rather long, yet theologically complete Hymn to Christ already existed in the 1st century, it is no wonder the Apostle John opted to begin his Gospel with it, probably quoting the entire text. Consequently, he converted this particular Hymn to Christ’s lyrics into what would later become canonized Scripture. The anthem is composed for SSATB with solo SSA trio, and Solo Soprano and Solo Baritone lines, accompanied by Flute and B♠Clarinet. The key signature of the anthem is B♠Major. However, a lot of time is spent weaving and bobbing around the Dominant chord, (F Major). The Flute and Clarinet introduction play seven different motifs, interweaving with counterpoint, musically connoting the dual natures of Christ--fully God, and fully man. An SSA trio opens the piece recounting the creation story. A bass solo shortly follows, introducing John the baptizer's story and purpose. Soon, the anthem breaks out into full SSATB illustrating Christ's life and purpose for our salvation. The final coda is the great Doxology, sung in 5 parts, accompanied by the Flute and Clarinet, and the entire congregation (or audience) is invited to sing along with the familiar tune.
$2.99
What Child is This?
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Chorale SATB
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Noël
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Dominic M Wright
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What Child is This?
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Dominic M Wright
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SheetMusicPlus
Choral Choir (SATB) - SKU: A0.1032581 Composed by Dominic M Wright. Christian,Christmas. Octavo. 10 pages. Dominic M Wright #5009059. Published by Domin...
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Choral Choir (SATB) - SKU: A0.1032581 Composed by Dominic M Wright. Christian,Christmas. Octavo. 10 pages. Dominic M Wright #5009059. Published by Dominic M Wright (A0.1032581). An original setting of the lyrics to the well-known carol 'What Child is This?’ For SABT choir and piano accompaniment. Suitable for any Christmas service or concert. Composers Note This piece was originally composed during my recovery from CFS/ME. I was drawn to these particular words because, like me, William Dix suffered a serious illness which strengthened his faith and inspired him to write not just these lyrics, but many other well-known and beloved hymns and carols. The piece was premiered during the annual 'Carols by Candlelight' service at our local church of St Andrews, Kirk Ella in December 2017. The choir worked extremely hard to prepare for the performance and the piece was very well received by both choir and audience. I am sure that your choir and audience will enjoy this piece as much as I enjoyed working on it. Duration approximately 4 minutes. Words: William Chatterton Dix - Public DomainMusic: Original composition by Dominic M Wright - Copyright 2017 Dominic M Wright is an award winning composer based in East Yorkshire, England. He is an experienced singer having sung with the National Youth Choirs of Great Britain, Manchester Cathedral Voluntary Choir and the Hull Choral Union in venues such as the Royal Albert Hall, the Sage Gates-head, Durham Cathedral, Manchester Cathedral, Hull Minster and many more. His compositions have been performed across the region, always to audience acclaim.
$3.99
What Wondrous Love Is This - TTBB Ensemble
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Chorale TTBB
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INTERMÉDIAIRE
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American Folk Hymn
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Mark R Lewis
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What Wondrous Love Is This - T
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Mark R Lewis
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SheetMusicPlus
Choral Choir (TTBB) - Level 3 - SKU: A0.1213360 Composed by American Folk Hymn. Arranged by Mark R Lewis. A Cappella,Folk,Religious,Sacred,Traditional. ...
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Choral Choir (TTBB) - Level 3 - SKU: A0.1213360 Composed by American Folk Hymn. Arranged by Mark R Lewis. A Cappella,Folk,Religious,Sacred,Traditional. Octavo. 12 pages. Mark R Lewis #810545. Published by Mark R Lewis (A0.1213360). What Wondrous Love Is This is an American folk hymn that became popular during the early 1800s. It was first published in 1811 in the various hymnbooks that came out during the Second Great Awakening with various lyricists credited. Many publications attributed the song's tune to The Ballad of Captain Kidd, a popular, though much older, song and tune at the time. Earlier versions of the text are slightly different, but as with many folk tunes, it is difficult to tell which transcriptions are regional variants and which are errors by the transcriber.This arrangement of the tune by Mark Lewis is for a cappella TTBB Ensemble. All four voice parts are featured for a verse with different accompaniment each time. There are key changes to better place the melody in the ranges of each voice and there are moving notes in many background voices through most of the piece. As with many of Mark's arrangements, the outer voices will be pushed towards the extremes of their ranges even though the notes and rhythms are not incredibly difficult. Most intermediate choirs should enjoy performing this piece.
$1.99
What Wondrous Love Is This - SATB Ensemble
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Chorale SATB
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INTERMÉDIAIRE
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American Folk Hymn
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Mark R Lewis
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What Wondrous Love Is This - S
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Mark R Lewis
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.1213363 Composed by American Folk Hymn. Arranged by Mark R Lewis. A Cappella,Folk,Religious,Sacred,Traditional. ...
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Choral Choir (SATB) - Level 3 - SKU: A0.1213363 Composed by American Folk Hymn. Arranged by Mark R Lewis. A Cappella,Folk,Religious,Sacred,Traditional. Octavo. 12 pages. Mark R Lewis #810549. Published by Mark R Lewis (A0.1213363). What Wondrous Love Is This is an American folk hymn that became popular during the early 1800s. It was first published in 1811 in the various hymnbooks that came out during the Second Great Awakening with various lyricists credited. Many publications attributed the song's tune to The Ballad of Captain Kidd, a popular, though much older, song and tune at the time. Earlier versions of the text are slightly different, but as with many folk tunes, it is difficult to tell which transcriptions are regional variants and which are errors by the transcriber.This arrangement of the tune by Mark Lewis is for a cappella SATB Ensemble. All four voice parts are featured for a verse with different accompaniment each time. There are key changes to better place the melody in the ranges of each voice and there are moving notes in many background voices through most of the piece. As with many of Mark's arrangements, the outer voices will be pushed towards the extremes of their ranges even though the notes and rhythms are not incredibly difficult. Most intermediate choirs should enjoy performing this piece.
$1.99
What Are You Doing New Year's Eve?
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Quatuor de Saxophones: 4 saxophones
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INTERMÉDIAIRE/AVANCÉ
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Frank Loesser
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James Pybus
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What Are You Doing New Year's
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James Pybus
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SheetMusicPlus
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.1151823 Composed by Frank Lo...
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Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.1151823 Composed by Frank Loesser. Arranged by James Pybus. Christmas,Holiday,Pop,Standards. 9 pages. James Pybus #752026. Published by James Pybus (A0.1151823). What Are You Doing New Year's Eve? is a popular song written in 1947 by Frank Loesser as an independent song. It was first recorded by Margaret Whiting in 1947 and first charted for The Orioles, peaking at No. 9 on Billboard's Best-Selling Retail Rhythm & Blues chart in December 1949. Although it is typically performed in December, that was not the composer's intent. In A Most Remarkable Fella: Frank Loesser and the Guys and Dolls in His Life, his daughter Susan Loesser explains that the singer, madly in love, is making a (possibly rash) commitment far into the future. (Maybe it's much too early in the game. Ah, but I thought I'd ask you just the same – What are you doing New Year's, New Year's Eve?) It always annoyed my father when the song was sung during the holidays. This SATB Saxophone Quartet arrangement begins with a quote from Dvorak's New World Symphony before proceeding into the rarely included verse of the song and ends with a quote from the popular song Auld Lang Syne written by Robert Burns, which is often heard on New Year's Eve. The saxophone quartet sound is sure to engage audiences in the spirit and sentiment of the song itself. The duration is 4:21. Contact me at james.pybus56@gmail.com.
$20.00
It's Been So Long
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Flûte, Hautbois, Clarinette, Basson
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INTERMÉDIAIRE
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Pop musique
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Yoav Landau
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Ethan Gammage
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It's Been So Long
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Ethan Gammage
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet - Level 3 - SKU: A0.1030862 Composed by Yoav Landau. Arranged by Ethan Gammage. Pop. 3 pages. Ethan Gammage #21461. P...
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Woodwind Ensemble,Woodwind Quartet - Level 3 - SKU: A0.1030862 Composed by Yoav Landau. Arranged by Ethan Gammage. Pop. 3 pages. Ethan Gammage #21461. Published by Ethan Gammage (A0.1030862). When I first began writing It’s Been so Long last year, I never knew how a song of this nature could inspire me to write. The lyrics were not what pushed me to arrange this; it was all of the feelings and rhythms that were occurring in the background. The song is originally a sad song about a mother and her son, but as I listened to the song, the words didn't release my emotions, it was the story being told in the background. My favorite part is what I gave the 2nd Alto Sax. Even though this was the last part I wrote, it is overall the most important in giving the audience the full story. It starts off insignificant only supporting the baseline and completing chords, but then it gains its own voice and becomes more independent as we reach the end.
$9.99
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