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Old Man Harlem
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Vous avez sélectionné:
Old Man Harlem
Partitions à imprimer
9 partitions trouvées
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Old Man Harlem
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Piano, Voix et Guitare
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Jazz
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Old Man Harlem
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Hal Leonard - Digital
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SheetMusicPlus
Guitar,Piano and Keyboard,Vocal,Voice - SKU: HX.1295303 This edition: scorch. Jazz,Standards. Score. 4 pages. Hal Leonard - Digital #19906. Published by...
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Guitar,Piano and Keyboard,Vocal,Voice - SKU: HX.1295303 This edition: scorch. Jazz,Standards. Score. 4 pages. Hal Leonard - Digital #19906. Published by Hal Leonard - Digital (HX.1295303).
$4.99
Hoagy Carmichael: Old Man Harlem - voice, piano or guitar
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Piano, Voix et Guitare
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INTERMÉDIAIRE
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Jazz
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Hoagy Carmichael
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Virtualsheetmusic
Instantly printable sheet music by Hoagy Carmichael for voice, piano or guitar of MEDIUM skill level. / jazz,standards
Instantly printable sheet music by Hoagy Carmichael for voice, piano or guitar of MEDIUM skill level. / jazz,standards
$6.97
Without A Song
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Country
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Willie Nelson
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Scott S
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Without A Song
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Scott S. Stewart
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 4 - SKU: A0.955846 By Willie Nelson. By Vincent Youmans. Arranged by Scott S. Stewart. Country. 10 pages. Scott S. St...
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Choral Choir,Choral (SATB) - Level 4 - SKU: A0.955846 By Willie Nelson. By Vincent Youmans. Arranged by Scott S. Stewart. Country. 10 pages. Scott S. Stewart #6373983. Published by Scott S. Stewart (A0.955846). Without a Song (which now holds a place in The Great American Songbook) was composed as early as 1922 by Vincent Youmans. Lyrics were added later by Billy Rose and Edward Eliscu. It was published in 1929, and subsequently included in Youmans musical play Great Day. To today’s ear the lyrics speak about the power of music to brighten one’s day. The original lyrics however contain text that is considered derogatory and worthy of a study of the Harlem Renaissance of the 1920’s to better understand popular American music and racial stereotypes of the early 20th century. This arrangement is scored for a 4-part SATB ensemble with piano accompaniment. Performance time: 3:20. An apt signature tune for choirs.
$2.99
I'm Gonna Sit Right Down And Write Myself A Letter
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Ensemble de cuivres
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Billy Williams
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Kevin P Holdgate
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I'm Gonna Sit Right Down And W
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Kevin P Holdgate
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SheetMusicPlus
Brass Ensemble - Level 4 - SKU: A0.791030 By Billy Williams. By Fred E. Ahlert. Arranged by Kevin P Holdgate. Contemporary. Score and parts. 29 pages. K...
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Brass Ensemble - Level 4 - SKU: A0.791030 By Billy Williams. By Fred E. Ahlert. Arranged by Kevin P Holdgate. Contemporary. Score and parts. 29 pages. Kevin P Holdgate #4888851. Published by Kevin P Holdgate (A0.791030). Versatile Brass Big Band Solo CollectionI'm Gonna Sit Right Down and Write Myself a Letter is a 1935 popular song with music by Fred E. Ahlert and lyrics by Joe Young. It has been recorded many times, including several recordings by Frank Sinatra, Bing Crosby and a host of other big American stars. It has become a standard of the Great American Songbook. It was popularized by Fats Waller, who recorded it in 1935 at the height of his fameIt is one of several songs from the Harlem Renaissance featured in the Broadway musical Ain't Misbehavin'.American Public Media's business-news program, Marketplace, uses a portion of Fats Waller's version to open its weekly letters-from-listeners segment.This arrangement can be for male vocals or played as a trombone solo in a swing style.
$19.99
Caravan
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Cloches
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AVANCÉ
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Jazz
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Duke Ellington and his Orchest
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Michael Gancz
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Caravan
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Michael Gancz
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SheetMusicPlus
Carillon,Instrumental Solo - Level 5 - SKU: A0.1301689 By Duke Ellington and his Orchestra. By Duke Ellington, Irving Mills, and Juan Tizol. Arranged by...
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Carillon,Instrumental Solo - Level 5 - SKU: A0.1301689 By Duke Ellington and his Orchestra. By Duke Ellington, Irving Mills, and Juan Tizol. Arranged by Michael Gancz. 20th Century,Broadway,Film/TV,Jazz,Latin,Musical/Show. Individual part. 8 pages. Michael Gancz #891301. Published by Michael Gancz (A0.1301689). Caravan is one of Duke Ellington's (1899-1974) most famous compositions—although he didn't actually write it. That credit goes to Puerto Rican trombonist Juan Tizol (1900-1984), a member of the Ellington's big band from 1929 to 1944. Tizol composed the theme in 1936 and promptly sold the rights to lyricist Irving Mills for only $25. The song became an instant hit—jazz critic Ted Gioia expllains that it fit perfectly with the musical exoticism that patrons were demanding at [Ellington's] regular gig at the Cotton Club in Harlem. Indeed, much jazz from this era, especially Ellington's, was steeped in Orientalist aesthetics. Although we hear it now as a self-contained musical phenomenon, we must acknowledge this music's problematics even as we continue to celebrate its progressive and revolutionary qualities. Part of my interest in this piece is in its capacity as a vessel in which I can explore my own multiform identity as an expatriate of the Middle East, a carillonist, and a lover of jazz. This arrangement reflects what might happen when these three perspectives collide. Ellington recorded Caravan more than 100 times, and the names of its additional interpreters reads as a history of jazz itself: Thelonious Monk, Art Blakey, Nat King Cole, Dizzy Gillespie, Wynton Marsalis and dozens more all brought their own spin to the tune. What makes it particularly special, though, is its appeal to listeners outside the jazz fandom. The 2014 film Whiplash introduced mass audiences to the song's unique atmosphere and to the genius of the Duke and his sidemen, thanks to an outstanding big band arrangement by John Wasson. My setting of the tune for the carillon recalls both Duke and Tizol's original version and this more recently popular edition.In this arrangement, I hope to highlight the carillon's capacity as a percussion instrument, and to use this as a bridge into the world of jazz. A successful interpretation will focus on groove, stratification of voices, and balance. Try to keep the pedals light!Michael Gancz2023Sources:Gioia, Ted (2012). The Jazz Standards: A Guide to the Repertoire. New York City: Oxford University Press. pp. 58–59.
$5.00
I'm Gonna Sit Right Down And Write Myself A Letter
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Piano, Voix
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INTERMÉDIAIRE
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Billy Williams
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Dave Gingras and John E
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I'm Gonna Sit Right Down And W
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DAVID LEE GINGRAS
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1474238 By Billy Williams. By Fred E. Ahlert and Joe Young. Arranged by Dave Gingras and John E. Dosher. Broadway,...
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Piano,Vocal,Voice - Level 3 - SKU: A0.1474238 By Billy Williams. By Fred E. Ahlert and Joe Young. Arranged by Dave Gingras and John E. Dosher. Broadway,Film/TV,Jazz,Musical/Show. Score. 2 pages. DAVID LEE GINGRAS #1051907. Published by DAVID LEE GINGRAS (A0.1474238). I'm Gonna Sit Right Down and Write Myself a Letter is a 1935 popular song with music by Fred E. Ahlert and lyrics by Joe Young. It has been recorded many times, and has become a standard of the Great American Songbook. It was popularized by Fats Waller, who recorded it in 1935 at the height of his fame. It is one of several songs from the Harlem Renaissance featured in the Broadway musical Ain't Misbehavin'. American Public Media's business-news program, Marketplace, uses a portion of Fats Waller's version to open its weekly letters-from-listeners segment. This version features a root-based chord blocking that John and I have used in a number of our arrangements. We hope you like what we've done with this grand old tune!
$4.99
All Or Nothing At All
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Instruments en Do
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INTERMÉDIAIRE/AVANCÉ
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Frank Sinatra w/Harry James Or
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John Fries
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All Or Nothing At All
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John Fries
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SheetMusicPlus
C Instrument - Level 4 - SKU: A0.499928 By Frank Sinatra w/Harry James Orchestra. By Arthur Altman and Jack Lawrence. Arranged by John Fries. 20th Centu...
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C Instrument - Level 4 - SKU: A0.499928 By Frank Sinatra w/Harry James Orchestra. By Arthur Altman and Jack Lawrence. Arranged by John Fries. 20th Century,Jazz,Standards. Lead Sheet / Fake Book. 1 pages. John Fries #113176. Published by John Fries (A0.499928). TYPE JOHN FRIES IN THE SEARCH BAR TO SEE ALL I HAVE TO OFFER. Thanks, John. Frank Sinatra's August 31, 1939 recording of the song, accompanied by Harry James and his Orchestra was a huge hit in 1943, when it was reissued by Columbia Records during the 1942-44 musicians' strike. The record topped the Billboard charts in 1943 during a 21-week stay and sold over a million copies. On the Harlem Hit Parade chart, All or Nothing at All went to number eight.
$3.99
All Or Nothing At All
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Piano, Voix et Guitare
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INTERMÉDIAIRE/AVANCÉ
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Latin/Musique du monde
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Jazz
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Frank Sinatra w/Harry James Or
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John Fries
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All Or Nothing At All
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John Fries
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1200020 By Frank Sinatra w/Harry James Orchestra. By Arthur Altman and Jack Lawrence. Arranged by John Frie...
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Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1200020 By Frank Sinatra w/Harry James Orchestra. By Arthur Altman and Jack Lawrence. Arranged by John Fries. 20th Century,Jazz,Latin,Standards. Score. 2 pages. John Fries #798833. Published by John Fries (A0.1200020). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. Frank Sinatra's August 31, 1939 recording of the song, accompanied by Harry James and his Orchestra was a huge hit in 1943, when it was reissued by Columbia Records during the 1942-44 musicians' strike. The record topped the Billboard charts in 1943 during a 21-week stay and sold over a million copies. On the Harlem Hit Parade chart, All or Nothing at All went to number eight.
$4.99
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Old Man Harlem
