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Vous avez sélectionné:
Reach For Me
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Reach For Me
Choral Vocal Solo,Voice - Level 3 - Digital Download SKU: A0.898328 Composed by And…
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Choral Vocal Solo,Voice - Level 3 - Digital Download SKU: A0.898328 Composed by Andrew McMahon and Andrew Ross Mcmahon. Arranged by Maria Willsher. Contemporary. 6 pages. Maria Willsher #5771181. Published by Maria Willsher (A0.898328). Transcription of the cast recording of 'Reach For Me' from the musical 'Hit List' from the television show 'Smash'. Includes all vocal parts with accurate harmonies and lyrics within the song. Written for a solo alto/mezzo soprano with some mezzo soprano and alto backing vocals.
$4.99
4.6 €
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Andrew McMahon and Andrew Ross Mcmahon
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Maria Willsher
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Reach For Me
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Maria Willsher
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SheetMusicPlus
Moonlight Serenade for Tuba Quintet (Jazz for 5 Series)
Ensemble de Tubas
Tuba, Euphonium, Tuba Quintet - Intermediate - Digital Download Composed by Glenn Mil…
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Tuba, Euphonium, Tuba Quintet - Intermediate - Digital Download Composed by Glenn Miller. Arranged by Keith Terrett. 20th Century, Jazz, Swing, Old-time. Score, Set of Parts. 8 pages. Published by Music for all Occasions
Moonlight Serenade" arranged here for Tuba Quintet, is an American popular song composed by Glenn Miller with subsequent lyrics by Mitchell Parish. It was an immediate phenomenon when first released in May 1939 as an instrumental arrangement and was adopted as Miller’s signature tune. In 1991, Miller’s recording of "Moonlight Serenade" was inducted into the Grammy Hall of Fame.<br> <br> The song, recorded on April 4, 1939 on RCA Bluebird, was a Top Ten hit on the U.S. pop charts in 1939, reaching number three on the Billboard charts, where it stayed for fifteen weeks. It was the number 5 top pop hit of 1939 in the Billboard year-end tally. Glenn Miller had five records in the top 20 songs of 1939 on Billboard′s list.<br> <br> In the UK, "Moonlight Serenade" was released as the A-side of a 78 on His Master’s Voice, with "American Patrol" as the B-side. The recording reached number twelve in the UK in March 1954, staying on the chart for one week. In a medley with "Little Brown Jug" and "In the Mood", "Moonlight Serenade" reached number thirteen on the UK charts in January 1976, in a chart run of eight weeks.<br> <br> The recording was also issued as a V-Disc, No. 39A, in November 1943.<br> <br> The recording used a clarinet-led saxophone section, which is widely considered[citation needed] the classic Glenn Miller style. Miller studied the Schillinger technique with Joseph Schillinger, who is credited with helping Miller create the "Miller sound", and under whose tutelage he himself composed "Moonlight Serenade".<br> <br> The song evolved from a 1935 version entitled "Now I Lay Me Down to Weep", with music by Glenn Miller and lyrics by Eddie Heyman to a version called "Gone with the Dawn" with lyrics by George Simon, and "The Wind in the Trees" with lyrics by Mitchell Parish. In his biography of Glenn Miller, George T. Simon recounted how vocalist Al Bowlly of the Ray Noble Orchestra sang him the Eddie Heyman lyrics to the Glenn Miller music of "Now I Lay Me Down to Weep" in 1935. The Noble Orchestra never recorded the song. Finally it ended up as "Moonlight Serenade" because Robbins Music bought the music and learned that Miller was recording a cover of "Sunrise Serenade", a Frankie Carle associated song, for RCA Victor. They thought "Moonlight" would be a natural association for "Sunrise".<br> <br> "Now I Lay Me Down to Weep" was composed in 1935 with lyrics by Eddie Heyman and music by Glenn Miller. After "Moonlight Serenade", originally released solely as an instrumental, became a smash hit in 1939, Mitchell Parish wrote new lyrics for the music under that title.<br> <br> A notable vocal version can be found on Frank Sinatra’s Moonlight Sinatra released in 1965, which also contains "Moon Love", "Moonlight Becomes You", and "Oh, You Crazy Moon", which were recorded by Glenn Miller and his Orchestra. "Moonlight Serenade" can also be found on Nothing But the Best, a 2008 Frank Sinatra greatest hits compilation by Reprise, on My Way: The Best of Frank Sinatra from 1997 by Warner Bros., and the Frank Sinatra compilation Greatest Love Songs from 2002. Frank Sinatra also released the song as part of an 7" EP 33RPM single in 1966, Reprise SR1018. The song also appeared on the 2015 centennial collection Ultimate Sinatra. In 1939, Count Basie and His Orchestra recorded one of the earliest versions to feature the lyrics added by Mitchell Parish which was released as a 78 single, Vocalion 5036.<br> <br> "Moonlight Serenade" has been covered by Barry Manilow, Carly Simon, The Airmen of Note of the U.S. Air Force with Air Force Strings, Charlie Haden, Marc Reift, Chet Baker with The Mariachi Brass in 1966, Santo and Johnny, Thelma Houston, Carol Burnett, Toots Thielemans, Deodato, who reached number 18 on the Billboard Easy Listening Chart, Count Basie and his Orchestra with vocals by Helen Humes in 1939, Benny Goodman and his Orchestra, Cab Calloway, The Modernaires, Gene Krupa and his Orchestra, Freddy Martin and his Orchestra, Bert Kaempfert, Ray Conniff, Mina, Dick Todd on RCA Bluebird, Geoff Love and His Orchestra, Lloyd Gregory on solo guitar, Dick Hyman, Maxwell Davis and his Orchestra, Tony Evans, Los Indios Tabajaras, David Rose, Richard Himber, Fi Dells Quartet, Waikikis, The Universal-International Orchestra conducted by Joseph Gershenson, Oleg Lundstrom, Charlie Byrd, Taco, Alix Combelle, Richard Vaughn, Lisa Ono, Eddie Maynard, Simone Kopmajer, Hamburg Philharmonia, Frankie Capp, Dave, Robert Banks Trio, Karel Vlach, Transatlantic Swing Band, the Frankie Condon Orchestra, The Romantic Strings, Paul Mauriat, Tommy Leonetti, Johnny Desmond, the Boston Pops under Arthur Fiedler, John Williams, and Keith Lockhart, Charlie Calello Orchestra, J.P. Torres and the Cuban All Stars, Tex Beneke and His Orchestra, the Manhattan Jazz Orchestra, Urbie Green, Bob Mintzer, Laura Fygi, Max Greger, Mario Pezzotta and His Orchestra, 101 Strings, Andrés Ramiro and His Orchestra, The Hiltonaires, Big Warsaw Band, Pep Poblet, Ray Anthony, Cheryl Bentyne, jazz trumpeter Bobby Hackett in 1965, The 12 Cellists of the Berlin Philharmonic, Joe Loss, Ted Heath, Lawrence Welk, Henry Mancini, James Last, Michael Maxwell and His Orchestra, John Blair, Ray Eberle, Enoch Light, Modern Folk Quartet, Buddy Emmons on steel guitar, The Rivieras, a 1950s Doo Wop group whose recording reached number 47 on the pop charts in 1959, Tuxedo Junction, Yasuko Agawa, George Melachrino, German bandleader Kurt Edelhagen, Ella Fitzgerald, Oscar Rabin, Henry Jerome and his Orchestra as a 45 single, Decca 25545, Kurt Elling, Syd Lawrence, The Ventures, Archie Bleyer, Mantovani, Bobby Vinton, who reached number 97 on the Billboard Hot 100 in 1976, and the rock band Chicago as a 1995 3 inch CD single in Japan and on the big band album Night & Day Big Band.<br> <br> Jazz critic Gary Giddins wrote about the song’s impact and legacy; "Miller exuded little warmth on or off the bandstand, but once the band struck up its theme, audiences were done for: throats clutched, eyes softened. Can any other record match ’Moonlight Serenade’ for its ability to induce a Pavlovian slobber in so many for so long?" (The New Yorker, May 24, 2004).<br> <br> "Moonlight Serenade" released as V-Disc 39A, VP 75, Theme Song, by the U.S. War Department in November 1943. In November 1939, Miller had a 15-minute radio series on CBS called Moonlight Serenade that ran three times a week, Tuesdays, Wednesdays, and Thursdays at 10:00 PM Eastern Time (shifting to 7:15 PM in May 1942), until September 1942, sponsored by Chesterfield.<br> <br> Wartime release:<br> <br> The 1939 RCA Victor studio recording of "Moonlight Serenade" was released by the U.S. War Department as V-Disc 39A, VP 75, Theme Song, in November, 1943. The recording was also released on the Navy V-Disc No. 160A. A V-Disc test pressing of a recording of the song from November 17, 1945 by the AAF Band was made but the disc was not issued. A new recording by Glenn Miller with the American Band of the Allied Expeditionary Forces was broadcast to Germany in 1944 on the radio program The Wehrmacht Hour.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com
$12.99
11.97 €
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Ensemble de Tubas
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Glenn Miller
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Keith Terrett
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Moonlight Serenade for Tuba Quintet
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Music for all Occasions
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SheetMusicPlus
Toccata for Double Bass and Piano (2012, rev. 2020) Newly revised version for double bass tuned in
Contre Basse
Double Bass,String Bass Solo - Level 5 - Digital Download SKU: A0.869156 Composed b…
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Double Bass,String Bass Solo - Level 5 - Digital Download SKU: A0.869156 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Individual part. 44 pages. Thomas Oboe Lee #31067. Published by Thomas Oboe Lee (A0.869156). I received an email from Joel Quarrington in 2011 with a request to buy a score and a set of parts to Hylidae … The Tree Frogs (1991) for violin, double bass and piano. He said he would like to perform the work at the next International Society of Bassists convention in Rochester, New York. I told him That is great. But it’s such an old work. Why don’t I write something new for you? He said, How much would a commission cost? I said, Let me write the piece first and if you like it, we can talk about a fee then. I began work on Toccata for Double Bass and Piano in late August and completed it on October 15. I sent Joel the music as a PDF and MIDI file via email. He wrote back, The piece looks really terrific and I have enjoyed listening to it as well, thanks for the midi file. I couldn’t be happier! Toccata is in three movements, fast-slow-fast, with internal ABA ternary forms in the first and last movements - also fast-slow-fast. Moderato … Trio … A tempo. Adagio. Allegro … Trio … Reprise! The first movement begins with a driving dotted-note motif in the double bass accompanied by an insistent sixteenth-note bass-line in the piano left hand and a soaring quarter-note melody in the piano right hand. A Trio follows which features a lyric melody in the double bass … molto cantabile! The double bass returns this time stealing the sixteenth-note bass-line motif from the piano left hand. The double bass pushes the music forward relentlessly and ferociously … holding no prisoners! To add counterpoint to this madness, the piano comes back with the quarter-note melody but in octaves this time. The left hand joins the melee occasionally to push the music forward until it reaches its climax at the conclusion. The second movement, Adagio, is a slow waltz. The mournful tune is delivered by the double bass at first, then it’s passed on to the piano, and it goes back and forth between the two. The third movement is a 6/8 romp, very syncopated and jazzy. The music goes back and forth between the double bass and piano, not unlike when the musicians in a jazz combo trade four’s among each other. An adagio Trio follows. The tune is in the double bass: long descending lines over a languid piano accompaniment. To complete the ABA format, the music from the beginning of this movement returns as a reprise. ENJOY!!! Commissioned by Joel Quarrington for a premiere performance at the 2013 International Society of Bassists Convention at Eastman School of Music in Rochester, New York.
$9.99
9.21 €
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Contre Basse
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Thomas Oboe Lee
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I told him That is great
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Toccata for Double Bass and Piano
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Thomas Oboe Lee
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SheetMusicPlus
You and Me
Chorale SATB
SATB chorus unaccompanied - Digital Download SKU: OX.9780193542389 Composed by Bob …
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SATB chorus unaccompanied - Digital Download SKU: OX.9780193542389 Composed by Bob Chilcott. Sheet music. Octavo. 12 pages. Oxford University Press Digital #9780193542389. Published by Oxford University Press Digital (OX.9780193542389). ISBN 9780193542389.For SATB unaccompanied. You and Me comprises two expressive love songs, each exploring a different side of love. 'Brightness' is a rapturous hymn to a beloved, its gentle syncopations and flexible rhythms building to a passionate intensity before the piece ends with a final, wistful refrain. 'The Good Side of Me', with text by Elizabeth Jennings, employs colourful harmonies to tell of a more complex, uncertain love, before reaching an affirmative, peaceful end.
$3.65
3.36 €
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Chorale SATB
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Bob Chilcott
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You and Me
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Oxford University Press Digital
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SheetMusicPlus
Reach for Tomorrow
Piano, Voix et Guitare
Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0015650 Composed by Jimmy McHug…
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Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0015650 Composed by Jimmy McHugh. Standards. 3 pages. Alfred Music - Digital Sheet Music #00-PS-0015650. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0015650). ISBN 9780739094860. UPC: 038081456881. Ned Washington.This massive songbook is packed with sheet music for 75 of the most memorable standards for all occasions! Dozens of gems from the golden years of 20th Century pop and jazz are joined by traditional melodies in this collection of essential songs that belong in every musician's repertoire. Titles: Ain't Misbehavin' * All of Me * America the Beautiful * At Last * The Best Is Yet to Come * Blue Moon * Butterfly * Chattanooga Choo Choo * Dance Little Bird (a.k.a. The Chicken Dance) * Danny Boy (Londonderry Air) * Deep Purple * Don't Get Around Much Anymore * Don't Sit Under the Apple Tree * Dream a Little Dream of Me * Elmer's Tune * Fly Me to the Moon * Havah Nagilah * Heart * Hernando's Hideaway * Hey There! * Hi-Lili, Hi-Lo * Hit the Road Jack * I Don't Know Why (I Just Do) * I Let a Song Go out of My Heart * I Put a Spell on You * I Wanna Be Loved by You * I'm a Little Mixed Up * I'm Gonna Sit Right Down and Write Myself a Letter * I'm in the Mood for Love * Laura * Leaving on a Jet Plane * The Lion Sleeps Tonight * Love Is a Many Splendored Thing * Love Story (Where Do I Begin) * Misty * Mood Indigo * Moonlight Serenade * My Man * Theme from New York, New York * On the Atchison, Topeka, and the Santa Fe * Orange Colored Sky * Over the Rainbow * The Pink Panther * Reach for Tomorrow * Rock Around the Clock * The Shadow of Your Smile * Singin' in the Rain * Smoke Rings * Somewhere My Love * Stairway to the Stars * Star Dust * Star Eyes * Stars Fell on Alabama * Straighten Up and Fly Right * Swinging on a Star * Take Five * Take the A Train * Taking a Chance on Love * That's Amore * There Will Never Be Another You * This Masquerade * Those Were the Days * Tie a Yellow Ribbon 'Round the Ole Oak Tree * The Trolley Song * The Twelfth of Never * We Just Couldn't Say Goodbye * What a Wonderful World * Whatever Lola Wants * When the Saints Go Marching In * Who's Sorry Now? * Yesterday When I Was Young * You Don't Have to Say You Love Me * You Made Me Love You * You Steppe.
$3.99
3.68 €
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Piano, Voix et Guitare
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Jimmy McHugh
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Reach for Tomorrow
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
"He Leadeth Me", organ solo, triumphant
Orgue
Organ - Level 3 - Digital Download SKU: A0.932700 Composed by William B. Bradbury. …
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Organ - Level 3 - Digital Download SKU: A0.932700 Composed by William B. Bradbury. Arranged by Terry M. Forsyth. Christian,Sacred. Score. 1 pages. Forsyth Publishing #6117211. Published by Forsyth Publishing (A0.932700). This 4:50 minute dramatic piece is a great prelude, special music or offertory. Requires right hand to play two manuals simultaneously: Effective yet moderately intermediate with gentle pace with difficulty being the reaching for playing two keyboards simultaneously for right hand. Starts soft, opening phrase is intertwined between various placements representing God's leading and ends with big presentation of the hymn demonstrating the joy of God having led through life and difficult times. Note orchestral instruments better represents the various use of keyboards and melody placements.
$4.99
4.6 €
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Orgue
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William B
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Terry M
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"He Leadeth Me", organ solo, triumphant
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Forsyth Publishing
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SheetMusicPlus
Every Day My Savior Leads Me
Chorale SATB
Choral SATB Chorus - Digital Download SKU: H1.C5407DP Composed by Jay Althouse. Pia…
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Choral SATB Chorus - Digital Download SKU: H1.C5407DP Composed by Jay Althouse. Piano Accompaniment. General Worship, Comfort, Confidence, Devotion, Discipleship, Encouragement, Eternal Life, Guidance. Octavo. 7 pages. Hope Publishing - Digital #C5407DP. Published by Hope Publishing - Digital (H1.C5407DP). John 10:3 - Psalms 23:2 - John 6:35 - John 6:41 - John 6:42 - John 6:43 - John 6:44 - John 6:45 - John 6:46 - John 6:47 - John 6:48 - John 6:49 - John 6:50 - John 6:51.Original composition With a text inspired by a lyric of Fanny Crosby's, this original composition addresses the many challenges, and choices, which we all face in our daily lives. Ultimately offering the consolation that if we should falter or stray, there stands Jesus before me, reaching out and showing me the way. The ending includes a whisper of Savior Like a Shepherd.
$2.95
2.72 €
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Chorale SATB
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Jay Althouse
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Every Day My Savior Leads Me
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Hope Publishing - Digital
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SheetMusicPlus
One For You One For Me
Piano Facile
Easy Piano - Level 3 - Digital Download SKU: A0.804333 By La Bionda. By Angelo La B…
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Easy Piano - Level 3 - Digital Download SKU: A0.804333 By La Bionda. By Angelo La Bionda and Carmelo La Bionda. Arranged by Juliano Music. Contemporary. Score. 7 pages. Juliano Alessandro Molteni #5317399. Published by Juliano Alessandro Molteni (A0.804333). My easy arrangement for PIANO SOLO of the song ONE FOR YOU, ONE FOR ME by LA BIONDA.JAM MUSIC APPROACH is the easy way to approach a song. Musicians of every kind deserve the possibility to experience and to be at ease with their improving performance. To reach this purpose i choose to give right hand - melodic line and left hand - arpeggios!ENJOY!!
$4.99
4.6 €
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Piano Facile
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La Bionda
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Juliano Music
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One For You One For Me
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Juliano Alessandro Molteni
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SheetMusicPlus
Reach Toward What's Next
Chorale Unison
Unison chorus - Digital Download SKU: C7.CGA1673 Composed by Katie Houts. General. …
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Unison chorus - Digital Download SKU: C7.CGA1673 Composed by Katie Houts. General. Sacred Anthem. Octavo. 12 pages. Chorister's Guild - Digital #CGA1673. Published by Chorister's Guild - Digital (C7.CGA1673). Written to celebrate the unique beauty of unison treble voices, this contemporary piece highlights the importance of friendship and community. Flexible text options make this piece an excellent selection for all types of treble choirs and a great choice for a school concert or assembly, community event, or worship service. A dynamic piano accompaniment and a vivid poetic text help voices soar as they sing, Won't you come with me? Be all we can be? Sharing joy and welcome, hope and courage, shining light that might encourage all God's children (all around us) to reach for what's next. The memorable melody resonates especially well with developing voices, and an optional descant helps bring this piece to an inspiring close.
$2.45
2.26 €
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Chorale Unison
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Katie Houts
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Reach Toward What's Next
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Chorister's Guild - Digital
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.11 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
E profundo for amplified clarinet & live electronics
Clarinette
B-Flat Clarinet Solo - Level 4 - Digital Download SKU: A0.1115332 By Vladimir Vlaev…
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B-Flat Clarinet Solo - Level 4 - Digital Download SKU: A0.1115332 By Vladimir Vlaev. By Vladimir Vlaev. Arranged by Vladimir Vlaev. 20th Century,Contemporary. Individual part. 14 pages. Vladimir Vlaev #717137. Published by Vladimir Vlaev (A0.1115332). Concert piece for clarinet and live processing of the clarinet sound (live electronics).E profundo is an experimental piece for amplified clarinet and live electronics / live processing. Therefore, the part of the electronics does not exist as a separate sound file, but it is created during the performance of the piece as particular sounds played by the clarinet player are captured by the microphone and then processed, layered and played back. The timing of each new step/preset is decided and triggered by the performer. A second performer/projectionist behind the mixer (usually me - the composer) takes care for the balance between the live and the processed part, as well as for the balance between the layers of the processed part. The piece is an exploration of the timbral capabilities of the clarinet enriched by its digitally processed counter part. E profundo is a sound story which begins in the dark deepness and travels through the entire range of the instrument to reach the fields of noise, where it gradually returns to pitched and harmonious sound.
$10.00
9.22 €
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Clarinette
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Vladimir Vlaev
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Vladimir Vlaev
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E profundo for amplified clarinet & live electronics
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Vladimir Vlaev
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SheetMusicPlus
God Gave Me You
Ligne De Mélodie, (Paroles) et Accords
Instrumental Duet,Piano C Instrument - Level 2 - Digital Download SKU: A0.880879 By…
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Instrumental Duet,Piano C Instrument - Level 2 - Digital Download SKU: A0.880879 By Dave Barnes. By Dave Barnes and Kirby Dockery. Arranged by Marco Polo C. Ignacio. Contemporary. Lead Sheet / Fake Book. 2 pages. MARCO POLO IGNACIO #6134247. Published by MARCO POLO IGNACIO (A0.880879). God Gave Me You is a song recorded by American country music artist Bryan White, and written by Andy Goldmark, Jamie Houston and James Dean Hicks. It was released in October 1999 as the second single from the album How Lucky I Am. The song reached No. 40 on the Billboard Hot Country Singles & Tracks chart.In 2015, however, God Gave Me You experienced a major surge in popularity in the Philippines after it became associated with AlDub-a popular on-air couple seen on the Kalyeserye segment of the local variety show Eat Bulaga!. White learned of the phenomenon in September 2015 after noting the significant amount of discussion related to AlDub and the song on Twitter. He explained that the one thing that was reinforced for me is to never underestimate the impact of music and what it can do. Many years ago I worked hard in making that the best it can be, and it just goes to show that it's in God's timing. It was a hit in the United States but nothing compared to here now.
$4.99
4.6 €
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Ligne De Mélodie, (Paroles) et Accords
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Dave Barnes
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Marco Polo C
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Tracks
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God Gave Me You
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MARCO POLO IGNACIO
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SheetMusicPlus
God's Been Good To Me
Chorale SATB
Choral Choir (SATB) - Digital Download SKU: A0.774757 By Keith Urban. By Keith Urba…
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Choral Choir (SATB) - Digital Download SKU: A0.774757 By Keith Urban. By Keith Urban. Arranged by Sandra Milliken. Country. Octavo. 16 pages. Sandra Milliken #5324923. Published by Sandra Milliken (A0.774757). God's Been Good to Me is a song by New Zealand-Australian singer-songwriter Keith Urban. Keith was born in New Zealand in 1967 and later moved, with his parents, to live in Queensland, Australia. There he took guitar lessons and entered local talent competitions. In 1983 he was a contestant on the Australian TV talent show New Faces. A few years later, he began making inroads into the Australian country music scene.In 1990, Urban signed with record label EMI in Australia and released his first self-titled album. Then in 1992 he moved to Nashville, Tennessee, in the hope of furthering his career and seven years later released a self-titled American debut album. A single from this album, Your Everything, made him the first male Australian performer to reach the Top 10 on the US country charts. Several more successful albums followed.Whilst living in Nashville, Keith often used cocaine, but after reaching a low point in 1998, he became determined to stop using the drug. In January 2005 Keith met Australian actress Nicole Kidman. They began dating six months later and married in 2006.God's Been Good to Me is a reflection of the dark times that Keith encountered in Nashville and his thankfulness that those times were now behind him.This arrangement is available for SATB and SSA choirs as well as for High and Low solo voices. All versions feature piano, violin and guitar accompaniment.
$2.30
2.12 €
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Chorale SATB
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Keith Urban
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Sandra Milliken
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God's Been Good To Me
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Sandra Milliken
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SheetMusicPlus
God's Been Good To Me
Chorale 3 parties
Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.774758 By Keith Urban. By K…
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Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.774758 By Keith Urban. By Keith Urban. Arranged by Sandra Milliken. Country. Octavo. 16 pages. Sandra Milliken #5324929. Published by Sandra Milliken (A0.774758). God's Been Good to Me is a song by New Zealand-Australian singer-songwriter Keith Urban. Keith was born in New Zealand in 1967 and later moved, with his parents, to live in Queensland, Australia. There he took guitar lessons and entered local talent competitions. In 1983 he was a contestant on the Australian TV talent show New Faces. A few years later, he began making inroads into the Australian country music scene.In 1990, Urban signed with record label EMI in Australia and released his first self-titled album. Then in 1992 he moved to Nashville, Tennessee, in the hope of furthering his career and seven years later released a self-titled American debut album. A single from this album, Your Everything, made him the first male Australian performer to reach the Top 10 on the US country charts. Several more successful albums followed.Whilst living in Nashville, Keith often used cocaine, but after reaching a low point in 1998, he became determined to stop using the drug. In January 2005 Keith met Australian actress Nicole Kidman. They began dating six months later and married in 2006.God's Been Good to Me is a reflection of the dark times that Keith encountered in Nashville and his thankfulness that those times were now behind him.This arrangement is available for SATB and SSA choirs as well as for High and Low solo voices. All versions feature piano, violin and guitar accompaniment.
$2.30
2.12 €
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Chorale 3 parties
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Keith Urban
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Sandra Milliken
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God's Been Good To Me
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Sandra Milliken
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SheetMusicPlus
God's Been Good To Me
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Digital Download SKU: A0.774761 By Keith Urban. By Keith…
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Guitar,Piano,Vocal,Voice - Digital Download SKU: A0.774761 By Keith Urban. By Keith Urban. Arranged by Sandra Milliken. Country. Score. 11 pages. Sandra Milliken #5324953. Published by Sandra Milliken (A0.774761). God's Been Good to Me is a song by New Zealand-Australian singer-songwriter Keith Urban. Keith was born in New Zealand in 1967 and later moved, with his parents, to live in Queensland, Australia. There he took guitar lessons and entered local talent competitions. In 1983 he was a contestant on the Australian TV talent show New Faces. A few years later, he began making inroads into the Australian country music scene.In 1990, Urban signed with record label EMI in Australia and released his first self-titled album. Then in 1992 he moved to Nashville, Tennessee, in the hope of furthering his career and seven years later released a self-titled American debut album. A single from this album, Your Everything, made him the first male Australian performer to reach the Top 10 on the US country charts. Several more successful albums followed.Whilst living in Nashville, Keith often used cocaine, but after reaching a low point in 1998, he became determined to stop using the drug. In January 2005 Keith met Australian actress Nicole Kidman. They began dating six months later and married in 2006.God's Been Good to Me is a reflection of the dark times that Keith encountered in Nashville and his thankfulness that those times were now behind him.This arrangement is available for SATB and SSA choirs as well as for High and Low solo voices. All versions feature piano, violin and guitar accompaniment.
$4.99
4.6 €
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Piano, Voix et Guitare
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Keith Urban
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Sandra Milliken
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God's Been Good To Me
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Sandra Milliken
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SheetMusicPlus
God's Been Good To Me
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Digital Download SKU: A0.774759 By Keith Urban. By Keith…
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Guitar,Piano,Vocal,Voice - Digital Download SKU: A0.774759 By Keith Urban. By Keith Urban. Arranged by Sandra Milliken. Country. Score. 11 pages. Sandra Milliken #5324939. Published by Sandra Milliken (A0.774759). God's Been Good to Me is a song by New Zealand-Australian singer-songwriter Keith Urban. Keith was born in New Zealand in 1967 and later moved, with his parents, to live in Queensland, Australia. There he took guitar lessons and entered local talent competitions. In 1983 he was a contestant on the Australian TV talent show New Faces. A few years later, he began making inroads into the Australian country music scene.In 1990, Urban signed with record label EMI in Australia and released his first self-titled album. Then in 1992 he moved to Nashville, Tennessee, in the hope of furthering his career and seven years later released a self-titled American debut album. A single from this album, Your Everything, made him the first male Australian performer to reach the Top 10 on the US country charts. Several more successful albums followed.Whilst living in Nashville, Keith often used cocaine, but after reaching a low point in 1998, he became determined to stop using the drug. In January 2005 Keith met Australian actress Nicole Kidman. They began dating six months later and married in 2006.God's Been Good to Me is a reflection of the dark times that Keith encountered in Nashville and his thankfulness that those times were now behind him.This arrangement is available for SATB and SSA choirs as well as for High and Low solo voices. All versions feature piano, violin and guitar accompaniment.
$4.99
4.6 €
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Piano, Voix et Guitare
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Keith Urban
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Sandra Milliken
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God's Been Good To Me
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Sandra Milliken
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SheetMusicPlus
Lesson ONE S-Cubed Sight Singing Program for Beginners
Chorale Unison
Choral Choir (Unison) - Level 1 - Digital Download SKU: A0.851245 By Music in the M…
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Choral Choir (Unison) - Level 1 - Digital Download SKU: A0.851245 By Music in the Middle with Mr D. By Music in the Middle with Mr D. A Cappella,Children,Instructional. Octavo. 33 pages. Music in the Middle with Mr. D #457905. Published by Music in the Middle with Mr. D (A0.851245). SCHOOL DISTRICTS! If you are interested in purchasing more than license, you are eligible for excellent discounts. The first S-Cubed license is regular price, but all subsequent licenses are sold at a significant discount. Or reach out directly to me at inthemiddlewithmrd@gmail.com. Please write Multiple License Purchase in the subject line. This discount is also available for schools with more than one music teacher. Recognize what the children don't know. Don't fault them for not knowing it... Then, teach it to them in a fun way they will remember forever. ...That's the philosophy of S-Cubed. Motivate your beginners! That is the goal of S-Cubed Middle School Sight Singing Program! You should purchase this Kodaly Hand/Ladder Chart from Dancing Crayon to help your students on this journey! This lesson is the first in a series of lessons called S-Cubed that Music in the Middle with Mr D is offering for your upper elementary and middle school music students that will help you teach your children how to sight sing 2 part music with syncopated rhythms and skips as wide as an octave in 27 weeks if you see your students daily. It is the perfect game for the first weeks of school! It will help you establish a positive relationship with your students. It will help their focus, and it will teach them valuable skills for sight singing that are critical to the S-Cubed method of Sight Singing! In this lesson, you will learn about the FUN part of the method! You will learn the rules and philosophies associated with the game Forbidden Pattern that will reflect your approach throughout your teaching of the entire method. It is presented in a Power Point that includes YouTube links to Mr D actually teaching the method to real students. It also includes YouTube links of Mr D explaining the rules of the game. This game is the hook for your young singers. They love playing this game because they want to beat the teacher! For the best value, purchase the MEGA Bundle It includes Levels ONE and TWO combine. It is essentially a two to three year commitment depending on how often you see your students and other factors.
$20.00
18.44 €
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Chorale Unison
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Music in the Middle with Mr D
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Lesson ONE S-Cubed Sight Singing Program for Beginners
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Music in the Middle with Mr. D
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SheetMusicPlus
Forlorn - Piano Trio in G Minor
Piano Trio: piano, violon, violoncelle
Piano Trio,String Ensemble Cello,Piano,Violin - Level 2 - Digital Download SKU: A0.9991…
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Piano Trio,String Ensemble Cello,Piano,Violin - Level 2 - Digital Download SKU: A0.999167 Composed by C. G. Davin Leonardo. 20th Century,Classical. Score and parts. 12 pages. C. G. Davin Leonardo #6050833. Published by C. G. Davin Leonardo (A0.999167). This is a simple piano trio (violin, violoncello, and piano) piece depicting the loneliness and hopelessness of an abandoned person. When the dynamics becoming more forte, there is a yearning of something said person could not even reach, succeeded by another moment of lamenting.This composition is accessible and suitable for early intermediate violin, cello, piano students. The critical point of this piece is the expression, dynamics, and ability to play through phrases seamlessly. Audiomack: https://audiomack.com/cgdlEmail: https://davinleonardo.me/contact.htmlInstagram: https://www.instagram.com/cg_davin/Website: https://davinleonardo.me/
$4.99
4.6 €
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Piano Trio: piano, violon, violoncelle
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C
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Forlorn - Piano Trio in G Minor
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C. G. Davin Leonardo
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SheetMusicPlus
The Song That Reached My Heart - Julian Jordan arr. GH Farnell (Brass Quartet)
Quatuor de Cuivres: 2 trompettes, Cor, trombone
Brass Ensemble Horn,Trombone,Trumpet - Level 2 - Digital Download SKU: A0.802635 Co…
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Brass Ensemble Horn,Trombone,Trumpet - Level 2 - Digital Download SKU: A0.802635 Composed by Julian Jordan. Arranged by Geo H Farnell & Peet du Toit. Contemporary. Score and parts. 6 pages. Peet du Toit #6072419. Published by Peet du Toit (A0.802635). Julian Jordan (November 10, 1850 – October 13, 1929) was an American composer, vocal instructor and singer. He worked with Willis Woodward & Co., a publisher in New York City's Tin Pan Alley. In 1887, he wrote his most successful composition, The Song That Reached My Heart.The Song That Reached My HeartMr. Jordan tells the following story of how he came to write The Song that Reached My Heart. Mr. Sayres, manager of the minstrel company, chanced to hear at one of the New York theaters a song entitled The Song for Me, which introduced Home! Sweet Home! as a finish. The following day Mr. Sayres and I met. He spoke of the song he had heard and said that he would like to have me get it for use in this minstrel company. Naturally I objected to taking the composition of another man, being a song writer myself, and so I told Mr. Sayres that if he was desirous of having a song which would introducethe melody of Home, Sweet Home I believed that I could compose one which would be as effective as theone he wished me to obtain. The idea was favorable to him, and Mr. Sayres at once suggested as a title for the song that I was to compose, The Song That Reached My Heart. Take that for a title and go home and see what you can make of it are the words Mr. Sayres used. I went home and the possessors of 100,000 copies of the song today know what I made of it. Willis Woodward, the song'spublisher, regarded the piece to be one of the most lasting and profitable hits in his long career.[Julian's twin brother, Jules Jordan, was also a composer and singer.Here's my contribution with a transcription of this beautiful composition for a brass quartet.
$13.00
11.98 €
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Quatuor de Cuivres: 2 trompettes, Cor, trombone
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Julian Jordan
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Geo H Farnell & Peet du Toit
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Co., a publisher in
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The Song That Reached My Heart - Julian Jordan arr. GH Farnell
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Peet du Toit
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SheetMusicPlus
Edwin Culver: a bridge a-way, exits within (for solo guitar)
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. …
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Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published by Edwin Culver (A0.1032084). Classical Guitar Solo - IntermediateComposed by Edwin Culver (1992-) 4 Pages. Duration 7'30Composer's note: Have you ever felt stuck? Trapped by something you can’t fully understand no matter how hard you try? Perhaps it’s something from our past that we never invited...or something we’ve missed in our closest relationships, maybe it’s just the dread we’ve felt waking up early in the morning to repeat the daily grind. We work hard to try and propel ourselves out of this nightmare, but we never seem to get totally free, in fact sometimes it feels like we’re just making ourselves feel worse by failing to overcome it yet again. This piece, ...a bridge a-way, exits within, represents that feedback loop, that stuckness. The piece came to me when I felt stuck in life by several things - old scars, old habits, crippling emotions. I had been wanting to write something in a minimalist style for the guitar for quite some time and the repetition found in so much minimalist music seemed like the obvious way for expressing this stuckness. There’s constant motion in the piece, just like when we try to take constant action in our lives to improve our circumstances. But all this motion never seems to get us anywhere new. We’re spinning our wheels…But one of the interesting things about great minimalist music is that it’s not merely about repetition. I don’t believe the greatest minimalists were concerned with having less stuff in their music for the sake of having less. Instead, what I think they more often aimed for was producing the biggest emotional impact that they could through the tiniest of changes. And if in your mind’s eye you zoom out from one of these minimalist masterworks and perceive it on a grand scale, you realize that despite all the seemingly redundant repetition in the moment the piece actually covers a huge distance because all those tiny changes add up.Likewise, in ...a bridge a-way, exits within, it seems like the performer can’t free himself from the territory of the first position on the guitar for the longest time. Even when he does venture higher up the instrument he’s always inextricably pulled back to the starting point. But small changes can have a profound impact.It doesn’t feel like we’re making headway whenever we’re having to crawl out of our skin - until, suddenly, when it’s all over. And you hear this towards the end of the piece, when there’s a sudden magnetic force that pulls the music from a low A to a high E-natural. From A to E, a bridge to exits eternal. The bridge has been found within, in the One I’ve put my trust in, because I can’t reach my eternal destiny on my own. This is ...a bridge a-way, exits within.
$11.99
11.05 €
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Guitare
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Edwin Culver
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Edwin Culver: a bridge a-way, exits within
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Edwin Culver
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SheetMusicPlus
Be Merciful to Me ~ Psalm 57 (for SA or 2-Part Choir with Piano accompaniment)
Chorale 2 parties
Choral Choir (SA) - Level 3 - Digital Download SKU: A0.565306 By Sharon Wilson. By …
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Choral Choir (SA) - Level 3 - Digital Download SKU: A0.565306 By Sharon Wilson. By Sharon Wilson. Arranged by Sharon Wilson. Contemporary,Easter,Holiday,Praise & Worship,Sacred. Octavo. 17 pages. Sharon Wilson #3872557. Published by Sharon Wilson (A0.565306). This Scripture song based on Psalm 57 verses 1 and 7-10 is formatted for a SOPRANO-ALTO or 2-part Choir with piano accompaniment. This 2-part arrangement is in the key of G major with the vocal ranges the same for both parts: the first B below middle C to the first B above middle C (B3 to B4). The limited, moderate vocal range makes this song accessible to just about every combination of voices (SA, AA, AB, TB, etc.). This is a straight-forward arrangement with the SOPRANO (Part 1) carrying the melody throughout and the ALTO (Part 2) adding a non-complex harmony. Duration 3:00.This Psalm is a prayer written by David while in a cave when he was fleeing from Saul (1 Samuel 22). It is presented here as a song of meditation and praise, drawing the listeners into an atmosphere of prayer and trust in God. The simplicity of the melody allows the vocalists to focus on the words and dynamics as the audience is drawn to the beauty of God's Word expressed musically. The purchase price includes the 9-page combined score with both vocal and piano parts on each page plus a separate VOCALS only score (4 pages) and a PIANO only score (3 pages). For duet use where only one copy is needed, this arrangement is also available as a single purchase.The lyrics were adapted from the King James Version (KJV) and the World English Version (WEB) and are printed below:Lyrics:VERSE 1Be merciful to me, O God, be merciful to me,For my soul takes refuge in you,In the shadow of your wings.Be merciful to me, O God, be merciful to me, For in the shadow of your wingsMy soul will always findRefuge, refuge, refuge in You.VERSE 2My heart is fixed on you, O God, my heart is fixed on you.I’ll sing and give you praises.I’ll wake up at dawn and give you thanks.I’ll sing your praises to all people,For your love is great.You loving kindness reaches far beyond the starry skies.Wake up, wake up, wake up and sing.ENDINGBe merciful to me, O God, be merciful to me,For my soul takes refuge in the shadow of your wings.For my soul takes refuge in the shadow of your wings.
$2.99
2.76 €
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Chorale 2 parties
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Sharon Wilson
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Sharon Wilson
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Be Merciful to Me ~ Psalm 57
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Sharon Wilson
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SheetMusicPlus
Be Merciful to Me ~ Psalm 57 (for Vocal Duet with Piano accompaniment)
Voix duo, Piano
Piano,Voice Duet Piano,Voice - Level 3 - Digital Download SKU: A0.565305 By Sharon …
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Piano,Voice Duet Piano,Voice - Level 3 - Digital Download SKU: A0.565305 By Sharon Wilson. By Sharon Wilson. Arranged by Sharon Wilson. Contemporary,Easter,Holiday,Praise & Worship,Sacred. 17 pages. Sharon Wilson #3872549. Published by Sharon Wilson (A0.565305). This Scripture song based on Psalm 57 verses 1 and 7-10 is formatted as a vocal duet with piano accompaniment. This arrangement is in the key of G major with the vocal ranges the same for both parts: the first B below middle C to the first B above middle C (B3 to B4). The limited, moderate vocal range makes this song accessible to just about every combination of voices (SA, AA, AB, TB, etc.) It is a very straight-forward arrangement with the SOPRANO (Part 1) carrying the melody throughout and the ALTO (Part 2) adding a non-complex harmony. Duration 3:00.This Psalm is a prayer written by David while in a cave when he was fleeing from Saul (1 Samuel 22). It is presented here as a song of meditation and praise, drawing the listeners into an atmosphere of prayer and trust in God. The simplicity of the melody allows the vocalists to focus on the words and dynamics as the audience is drawn to the beauty of God's Word expressed musically. The purchase price includes the 9-page combined score with both vocal and piano parts on each page plus a separate VOCALS only score (4 pages) and a PIANO only score (3 pages). To purchase multiple copies for 2-part choral use, this arrangement is available separately at a reduced price.  The lyrics were adapted from the King James Version (KJV) and the World English Version (WEB) and are printed below:Lyrics:VERSE 1Be merciful to me, O God, be merciful to me,For my soul takes refuge in you,In the shadow of your wings.Be merciful to me, O God, be merciful to me, For in the shadow of your wingsMy soul will always findRefuge, refuge, refuge in You.VERSE 2My heart is fixed on you, O God, my heart is fixed on you.I’ll sing and give you praises.I’ll wake up at dawn and give you thanks.I’ll sing your praises to all people,For your love is great.You loving kindness reaches far beyond the starry skies.Wake up, wake up, wake up and sing.ENDINGBe merciful to me, O God, be merciful to me,For my soul takes refuge in the shadow of your wings.For my soul takes refuge in the shadow of your wings.Visit Sharon Wilson’s website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$5.99
5.52 €
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Voix duo, Piano
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Sharon Wilson
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Sharon Wilson
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Be Merciful to Me ~ Psalm 57
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Sharon Wilson
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SheetMusicPlus
Fragments des Fragments du Narcisse, after Paul Valéry, for alto and guitar (mp3)
Alto Voice,Guitar - Level 4 - Digital Download SKU: A0.1402629 By David Warin Solom…
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Alto Voice,Guitar - Level 4 - Digital Download SKU: A0.1402629 By David Warin Solomons. By David Warin Solomons. Classical,Contemporary,Singer/Songwriter. Full Performance. Duration 300. David Warin Solomons #985853. Published by David Warin Solomons (A0.1402629). This song is based on parts of the poem by Paul Valéry Fragments du Narcisse which explains and ponders the idea of the origin of narcissism (self-love)The words are as followsMais moi, Narcisse aimé, je ne suis curieuxQue de ma seule essence ;Tout autre n’a pour moi qu’un cœur mystérieux,Tout autre n’est qu’absence.Ô mon bien souverain, cher corps, je n’ai que toi !Le plus beau des mortels ne peut chérir que soi... Douce et dorée, est-il une idole plus sainte,De toute une forêt qui se consume, ceinte,Et sise dans l’azur vivant par tant d’oiseaux ?Est-il don plus divin de la faveur des eaux,Et d’un jour qui se meurt plus adorable usageQue de rendre à mes yeux l’honneur de mon visage ?Quitte enfin le silence, ose enfin me répondre,Bel et cruel Narcisse, inaccessible enfant,Tout orné de mes biens que la nymphe défend...Formons, toi sur ma lèvre, et moi, dans mon silence,Une prière aux dieux qu’émus de tant d’amourSur sa pente de pourpre ils arrêtent le jour !...Dieux ! de l’auguste jour, le pâle et tendre resteVa des jours consumés joindre le sort funeste ;Il s’abîme aux enfers du profond souvenir !Hélas ! corps misérable, il est temps de s’unir...Penche-toi... Baise-toi. Tremble de tout ton être !L’insaisissable amour que tu me vins promettrePasse, et dans un frisson, brise Narcisse, et fuit..English translation by D W SolomonsBut I, beloved Narcissus, am curious onlyabout my very beingeverything else has nothing more than a heart of mysteryeverything else is nothing but absenceOnly what I own, my dear sovereign body, is what I haveThe most beautiful of mortals cannot cherish anything more than itselfSweet and golden, is there a more holy idolwithin an entire forest, self-consumed and heldand set in the living azure by so many birds?Is there a more divine gift than the favour of the watersand a more adorable use of the dying daythan to return to me the honour of my face?Please don't be silent, please dare to replyBeautiful and cruel Narcissus, unreachable child owning what I hold dear but guarded by the nymphLet the two of us, you on my lips and I in my silencemake a prayer to the gods that they should be moved by so much lovethat they would keep the day held in its purple sunsetGods! only the pale and tender parts remain of the august day,It joins the fate of other days that were consumedIt goes down into the hell of deep memoryAlas, miserable body, it is time to become as oneBend down - kiss yourself - tremble with all your beingThe intangible love that you promisedhas gone by, and in a shiver, shatters Narcissus and flees.
$5.50
5.07 €
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David Warin Solomons
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Fragments des Fragments du Narcisse, after Paul Valéry, for alto and guitar
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David Warin Solomons
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SheetMusicPlus
All Of Me
Trombone
Trombone Solo - Level 2 - Digital Download SKU: A0.1217916 Composed by Gerald Marks…
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Trombone Solo - Level 2 - Digital Download SKU: A0.1217916 Composed by Gerald Marks and Seymour Simons. Arranged by Leo Silva. Jazz. Individual part. 1 pages. MP Sheet Music #814434. Published by MP Sheet Music (A0.1217916). Composition and characteristics All of Me is a jazz standard whose lyrics and music were written by Gerald Marks and Seymour Simons in 1931. It has an ABAC structure and was originally written in the key of B-flat major.The melody combines the music's contradictory possibilities. The downward thrusts of the opening phrases suggest emotional despair, while the final line, with its repeated high notes, sounds almost jubilant. It usually runs in an average time.All of Me first came to public notice when a performance by Belle Baker was broadcast on the radio in 1931. After that a few others also became successful.Frank Sinatra recorded several versions of All of Me. Its 1948 release peaked at No. 21. He also sang it in the film Meet Danny Wilson, which may have helped Johnnie Ray's performance reach No. 12 in the charts that year. Sinatra's use of All of Me brought a non-jazz audience to the song, as did Willie Nelson, whose version was included on his Stardust album and reached No. 3 on the Hot Country Songs chart in 1978. In 2000, All of Me of Me received the Towering Song Award from the Songwriters Hall of Fame.
$4.99
4.6 €
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Trombone
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Gerald Marks and Seymour Simons
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Leo Silva
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All Of Me
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MP Sheet Music
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SheetMusicPlus
All Of Me
Instruments en Do
C Instrument - Level 2 - Digital Download SKU: A0.1217874 Composed by Gerald Marks …
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C Instrument - Level 2 - Digital Download SKU: A0.1217874 Composed by Gerald Marks and Seymour Simons. Arranged by Leo Silva. Jazz,Multicultural,World. Lead Sheet / Fake Book. 1 pages. MP Sheet Music #814392. Published by MP Sheet Music (A0.1217874). Composition and characteristics All of Me is a jazz standard whose lyrics and music were written by Gerald Marks and Seymour Simons in 1931. It has an ABAC structure and was originally written in the key of B-flat major.The melody combines the music's contradictory possibilities. The downward thrusts of the opening phrases suggest emotional despair, while the final line, with its repeated high notes, sounds almost jubilant. It usually runs in an average time.All of Me first came to public notice when a performance by Belle Baker was broadcast on the radio in 1931. After that a few others also became successful.Frank Sinatra recorded several versions of All of Me. Its 1948 release peaked at No. 21. He also sang it in the film Meet Danny Wilson, which may have helped Johnnie Ray's performance reach No. 12 in the charts that year. Sinatra's use of All of Me brought a non-jazz audience to the song, as did Willie Nelson, whose version was included on his Stardust album and reached No. 3 on the Hot Country Songs chart in 1978. In 2000, All of Me of Me received the Towering Song Award from the Songwriters Hall of Fame.
$3.99
3.68 €
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Instruments en Do
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Gerald Marks and Seymour Simons
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Leo Silva
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All Of Me
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MP Sheet Music
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SheetMusicPlus
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