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--INSTRUMENTS--
ACCORDEON
ALTO
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BANJO
BASSE
BASSON
BATTERIE
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CHORALE - CHAN…
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TROMPETTE
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UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Somewhere Along The Way
Sheetmusicplus
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4
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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
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GUITARE LAP ST…
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MARIMBA
OCARINA
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ORGUE
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PIANO
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Somewhere Along The Way
SheetMusicPlus
Partitions à imprimer
16 partitions trouvées
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1
The Story Of Reuben Clamzo & His Strange Daughter
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Chorale TTBB
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FACILE
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo &am
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Edition Craig Hanson
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SheetMusicPlus
Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edi...
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Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
Somewhere Along the Way (Samuel the Prophet) from "The Kings" - ACT 1:Song 7
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Voix Baryton, Piano
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INTERMÉDIAIRE
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McCorkle, Dennis F
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Somewhere Along the Way
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DF McCorkle Music and eBook Publications
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SheetMusicPlus
Baritone Horn TC,Vocal Solo,Voice - Level 3 - SKU: A0.784820 Composed by McCorkle, Dennis F. Broadway,Christian,Jewish,Musical/Show,Rock. 28 pages. DF M...
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Baritone Horn TC,Vocal Solo,Voice - Level 3 - SKU: A0.784820 Composed by McCorkle, Dennis F. Broadway,Christian,Jewish,Musical/Show,Rock. 28 pages. DF McCorkle Music and eBook Publications #11729. Published by DF McCorkle Music and eBook Publications (A0.784820). ACT ONE: Song 7 The King, by Dennis McCorkle, is a contemporary pop-rock musical of the first two kings of Israel, Saul ben Kish and David ben Jesse and explores the contrasting lives and outcome of each man’s choices in life. [1 Samuel 10:18-19… - And he said to the children of Israel: Thus says Yahweh, the God of Israel: ‘I brought up Israel out of Egypt, and I delivered you out of the hand of the Egyptians, and out of the hand of all the kingdoms that oppressed you.’ 19 But you have this day rejected your God, who Himself saves you out of all your calamities and your distresses; and you have said unto Him: Nay, but set a king over us…] [1 Samuel 12:24-25 - Only fear Yahweh, and serve him in truth with all your heart; for consider how great things he hath done for you. But if you shall still do wickedly, you shall be consumed, both you and your king.] SAMUEL warns Saul and the people that if they follow God all will go well for them. If they do not, there will be severe repercussions [Somewhere Along the Way – Samuel]. As SAMUEL walks off, thunder and lightning start and the people scatter. Also included with your order is our new 20 page catalog of over 150 titles at no additional charge.
$2.99
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
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2 Pianos, 4 mains
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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CURVE, Between the Octaves - A
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published b...
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Instrumental Duet,Keyboard - SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published by Jenni Roditi (A0.1497852). Piano Duo 2 pianos/4 hands. Curve, Between the Octaves points to a fugal past, where lines enter and build in stately flow. It invites lines to intermingle, without assuming they will all arrive somewhere, or at the same time. A certain intensity builds, then scales, both up and down, free themselves from the discussion of the interleaving lines. The chromaticism suggests curving between harmonies, and is nearly always ambivalent. An assertive chordal climax intervenes to shake off the tensions, yet this peels away into further curvatures that twist and twirl, until a final resting point agrees to present itself. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
Somewhere Along The Way
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Ensemble Jazz
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INTERMÉDIAIRE/AVANCÉ
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James Van Heusen
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John La Barbera
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Somewhere Along The Way
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Deaver Enterprises ASCAP
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 4 - SKU: A0.978842 Composed by James Van Heusen. Arranged by John La Barbera. Broadway,Contest,Festival,Jazz,Musical...
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Jazz Ensemble Jazz Ensemble - Level 4 - SKU: A0.978842 Composed by James Van Heusen. Arranged by John La Barbera. Broadway,Contest,Festival,Jazz,Musical/Show,Rock,Standards. Score and parts. 51 pages. Deaver Enterprises ASCAP #584508. Published by Deaver Enterprises ASCAP (A0.978842). Somewhere Along The Way Producer John Hammond specifically asked me for this arrangement because he believed, and rightfully so, that Bill’s appeal to the general public would be American popular song ballad features highlighting his phenomenal dynamic range. I’m sure he had Nat “King†Cole’s hit in mind and the chart pretty much wrote itself. This is the original arrangement from the original score with all of the flute parts included which were cut, for whatever reason, from the final mix. Bucket muted trumpets can be substituted for Flugels and I’ve added a hard ending instead of a board fade for performance purposes. The original recording version can be replicated... just tacit the flutes where necessary or if you’re ambitious, transpose the flutes for saxes and/or clarinets.
$85.00
Somewhere Along The Way
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Piano Facile
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FACILE
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Jazz
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Frank Sinatra
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Mark Phillips
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Somewhere Along The Way
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A. J. Cornell Publications
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SheetMusicPlus
Easy Piano - Level 2 - SKU: A0.826254 By Frank Sinatra. By Kurt Adams and Sammy Gallop. Arranged by Mark Phillips. Jazz,Standards. Score. 3 pages. A. J....
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Easy Piano - Level 2 - SKU: A0.826254 By Frank Sinatra. By Kurt Adams and Sammy Gallop. Arranged by Mark Phillips. Jazz,Standards. Score. 3 pages. A. J. Cornell Publications #433094. Published by A. J. Cornell Publications (A0.826254). Somewhere Along The Way for Easy Piano.
$4.99
Somewhere Along The Way
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Piano Facile
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FACILE
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Contemporain
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James Van Heusen
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Mark Phillips
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Somewhere Along The Way
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A. J. Cornell Publications
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SheetMusicPlus
Easy Piano - Level 2 - SKU: A0.692680 Composed by James Van Heusen. Arranged by Mark Phillips. Contemporary. Score. 3 pages. A. J. Cornell Publications ...
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Easy Piano - Level 2 - SKU: A0.692680 Composed by James Van Heusen. Arranged by Mark Phillips. Contemporary. Score. 3 pages. A. J. Cornell Publications #6623801. Published by A. J. Cornell Publications (A0.692680). Somewhere Along the Way for Easy Piano.
$4.99
Somewhere Along The Way
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Ligne De Mélodie, (Paroles) et Accords
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Somewhere Along The Way
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Hal Leonard - Digital
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SheetMusicPlus
SKU: HX.466196 Country,Jazz,Standards. Real Book - Melody/Chords. 1 pages. Published by Hal Leonard - Digital (HX.466196). ...
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SKU: HX.466196 Country,Jazz,Standards. Real Book - Melody/Chords. 1 pages. Published by Hal Leonard - Digital (HX.466196).
$1.99
Somewhere Along The Way (High Voice)
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Voix haute
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Jazz
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Frank Sinatra and Steve Lawren
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Somewhere Along The Way
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Hal Leonard - Digital
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SheetMusicPlus
(High Voice) - SKU: HX.470438 By Frank Sinatra and Steve Lawrence. Jazz,Standards. Real Book - Melody/Chords/Lyrics. 1 pages. Published by Hal Leonard -...
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(High Voice) - SKU: HX.470438 By Frank Sinatra and Steve Lawrence. Jazz,Standards. Real Book - Melody/Chords/Lyrics. 1 pages. Published by Hal Leonard - Digital (HX.470438).
$1.99
Somewhere Along The Way (Low Voice)
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Ligne De Mélodie, (Paroles) et Accords
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Frank Sinatra and Steve Lawren
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Somewhere Along The Way
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Hal Leonard - Digital
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SheetMusicPlus
Voice - SKU: HX.1301192 By Frank Sinatra and Steve Lawrence. This edition: scorch. Country,Jazz. Real Book - Melody/Chords/Lyrics. 1 pages. Hal Leonard ...
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Voice - SKU: HX.1301192 By Frank Sinatra and Steve Lawrence. This edition: scorch. Country,Jazz. Real Book - Melody/Chords/Lyrics. 1 pages. Hal Leonard - Digital #989277. Published by Hal Leonard - Digital (HX.1301192).
$1.99
Somewhere Along The Way
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Chorale SSAA
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INTERMÉDIAIRE
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Contemporain
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Frank Sinatra, Steve Lawrenc
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Jeanne Elmuccio
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Somewhere Along The Way
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Aeolian Impressions
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SheetMusicPlus
SSAA - Intermediate - Digital Download By Frank Sinatra, Steve Lawrence. Arranged by Jeanne Elmuccio. Score. 4 pages. Published by Aeolian Impression...
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SSAA - Intermediate - Digital Download By Frank Sinatra, Steve Lawrence. Arranged by Jeanne Elmuccio. Score. 4 pages. Published by Aeolian Impressions
$1.99
Mission To Mars - The Space Album
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Piano, Voix et Guitare
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INTERMÉDIAIRE
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Pop musique
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Philip Jones
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Mission To Mars - The Space Al
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Philip Jones
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1006631 Composed by Philip Jones. Pop. Score. 22 pages. Philip Jones #548427. Published by Philip Jones (A0...
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Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1006631 Composed by Philip Jones. Pop. Score. 22 pages. Philip Jones #548427. Published by Philip Jones (A0.1006631). 21 original tunes with a spacey feel that you probably won't have heard before, including Mission To Mars. 1. Bright New Day 2. Keep On Trying 3. Light and Shade 4. Make It Happen 5. Mission To Mars 6. Momentum 7. Moving Along 8. Now And Forever More 9. Ode To Discovery 10. Rolling Pins 11.Out In The Sunshine 12. Out There Somewhere A Far 13. Sparkling In The Sky 14.The Happening 15. Trying Hard 16. Up In The Heaven With The Angels 17. Up In The Sky And Way Yonder 18. Up On The Hill Tonight 19. When I Dream Of You 20. When You're Around 21. Whispering Wind. All melodies composed with chord symbols to sound amazing on any electronic organ or keyboard.
$9.99
Somewhere Only We Know
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Violon, Violoncelle (duo)
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INTERMÉDIAIRE
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Rock
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Keane
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Sybil Shanahan, Beaux Strings
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Somewhere Only We Know
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S. Shanahan
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SheetMusicPlus
Cello,Instrumental Duet,Violin - Level 3 - SKU: A0.1253567 By Keane. By Richard Hughes, Tim Rice-Oxley, and Tom Chaplin. Arranged by Sybil Shanahan, Bea...
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Cello,Instrumental Duet,Violin - Level 3 - SKU: A0.1253567 By Keane. By Richard Hughes, Tim Rice-Oxley, and Tom Chaplin. Arranged by Sybil Shanahan, Beaux Strings. Pop,Rock. 4 pages. S. Shanahan #847218. Published by S. Shanahan (A0.1253567). A beautiful song cover suitable for many occassions with lots of optional looping points if you need to make it longer. It's in the same key as the original, so you can play along with the original song to practice. Suitable for intermediate players - you can always leave out some chords if necessary in the violin part. I have also published this in a 2 cello version.
$9.99
In Your Slumber
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Orchestre d'harmonie
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DÉBUTANT
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Aaron Fonzi
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In Your Slumber
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Aaron Fonzi
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SheetMusicPlus
Concert Band - Level 1 - SKU: A0.998359 Composed by Aaron Fonzi. Christmas,Contemporary,Folk,Standards. Score and parts. 25 pages. Aaron Fonzi #4834971....
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Concert Band - Level 1 - SKU: A0.998359 Composed by Aaron Fonzi. Christmas,Contemporary,Folk,Standards. Score and parts. 25 pages. Aaron Fonzi #4834971. Published by Aaron Fonzi (A0.998359). This lyrical piece is a delightful way to introduce your young band to ballad style. Exploring slurs, accents, dynamics, caesuras, ritardandos and more, you'll be shocked by how sophisticated this beautiful piece sounds while using only a limited number of notes. Written to convey the playful innocence of a child dreaming, In Your Slumber balances the calm of a starry sky with the imagination and adventure of a child's mind at rest. Simple and elegant, the lullaby played by the flutes in the beginning gives way to an imaginative variation on the theme by the trumpets and clarinets at B. Gentle, pulsating tenutos in the harmonizing chords underneath are symbolic of relaxed, rhythmic breathing underlying the musical thoughts flowing by above them. Just as in dreams we seldom have control of which direction the story may go, D takes us somewhere else musically and implies a build to a false climax. At E, we are greeted with the quiet sounds of the night once more, but this time our imagination runs wild as the music builds to the climax of the piece at F. This powerful proclamation of the melody is concluded with a gentle final statement in the flute and clarinet, and the piece concludes with the final twinkle of the stars as the sun rises for a new day.Full of imagination, beauty and teachable moments throughout, I hope that you and your students can enjoy and appreciate this piece for it's simple beauty as I do. Onward!~Aaron FonziREHEARSAL NOTES:1. The clarinet part should be a very light drone creating atmosphere at the beginning- the same goes for the clarinet and saxophone at rehearsal E.2. It's easy to get too loud too soon in this piece, so remind your students to have patience. F is the climax of the piece, but many young students will want to play C as if it is. Similarly, be sure to balance the trumpet/ clarinet and the flute/ oboe/ bells at C so both lines come out evenly.3. Take your time in measure 48- we want to naturally fade away and pause before going on at rehearsal E. This increase and decrease in energy is a characterization of the ebb and flow of the piece.4. At F, there are 3 important parts that must be balanced: flute/oboe/bells; trumpet/clarinet; alto saxophone/horn. For best results, balance these 3 parts, and encourage the alto/horn line to play out a bit more than they think they need to. They are the new part which must be heard here.5. Have fun and use your imagination in terms of expressing the music- ask your students what it makes them think of and create a story to go along with it. Let this ultimately guide your interpretation. I am consistently impressed with the creative ideas my students come up with, so let them decide how the music should sound with their own stories. In your slumber, anything is possible!
$15.00
Somewhere Along The Way
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Piano, Voix et Guitare
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Pop musique
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Kurt Adams
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Somewhere Along The Way
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Kurt Adams. Pop. Piano/Vocal/Guitar. 5 pages. Published by Hal Leonard - Digital Sheet Music...
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By Kurt Adams. Pop. Piano/Vocal/Guitar. 5 pages. Published by Hal Leonard - Digital Sheet Music
$4.99
Somewhere Along The Way
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Piano, Voix et Guitare
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Jazz
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Frank Sinatra
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Somewhere Along The Way
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Frank Sinatra. For piano, voice, and guitar (chords only). Jazz; Standards. 5 pages. Published by Hal Leonard - Digital Sheet Music...
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By Frank Sinatra. For piano, voice, and guitar (chords only). Jazz; Standards. 5 pages. Published by Hal Leonard - Digital Sheet Music
$4.99
Somewhere Along The Way
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Piano, Voix et Guitare
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Jazz
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Kurt Adams
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Somewhere Along The Way
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Kurt Adams. By Sammy Gallop. Standards. Piano/Vocal/Guitar (chords only). 5 pages. Published by Hal Leonard - Digital Sheet Music (HX.84715). - Piano/Vocal/G...
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By Kurt Adams. By Sammy Gallop. Standards. Piano/Vocal/Guitar (chords only). 5 pages. Published by Hal Leonard - Digital Sheet Music (HX.84715). - Piano/Vocal/Guitar (chords only) - Standards - Hal Leonard - Digital Sheet Music
$4.99
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Somewhere Along The Way
