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--INSTRUMENTS--
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That's What I Like: Snare Drum
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Vous avez sélectionné:
That's What I Like: Snare Drum
Partitions à imprimer
11 partitions trouvées
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1
That's What I Like
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Batterie
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INTERMÉDIAIRE
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Bruno Mars
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Stanley White
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That's What I Like
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Stanley White
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SheetMusicPlus
Drum Set,Drums - Level 3 - SKU: A0.1186800 By Bruno Mars. By Bruno Mars, Christopher Brody Brown, James Fauntleroy, Jeremy Reeves, Jonathan Yip, Philip ...
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Drum Set,Drums - Level 3 - SKU: A0.1186800 By Bruno Mars. By Bruno Mars, Christopher Brody Brown, James Fauntleroy, Jeremy Reeves, Jonathan Yip, Philip Lawrence, Ray Charles McCullough II, and Ray Romulus. Arranged by Stanley White. Funk,Hip-Hop,Pop,R & B. Score. 3 pages. Stanley White #786418. Published by Stanley White (A0.1186800). Perfect for drummers, easy to read and understand. Can be used to play along perfectly with original recording of That's What I Like by Bruno Mars. Note for note transcription of what is played on the original record by drummer Eric E-Panda Hernandez. Use the provided mp3 to practice along and confirm that what you're reading, hearing, and playing all align. Transcribed to be played on a five piece drum set (Hi-hat, Crash and Ride Cymbal, Snare, High Tom, Medium Tom, Floor Tom, and Bass Drum).Â
$4.99
That's What I Like: Snare Drum
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Fanfare
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That's What I Like: Snare Drum
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Marching Band - SKU: AX.00-PC-0018336_SD Instructional. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0018336_SD. Published by Alfred Music - Digit...
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Marching Band - SKU: AX.00-PC-0018336_SD Instructional. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0018336_SD. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0018336_SD). UPC: 038081541419.
$3.00
That's What I Like - Snare Drum
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Rock
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Bruno Mars
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Ishbah Cox
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That's What I Like - Snare Dru
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Hal Leonard - Digital
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SheetMusicPlus
Level 3 - SKU: HX.411245 By Bruno Mars. Arranged by Ishbah Cox. This edition: scorch. Pop,Rock. 1 pages. Hal Leonard - Digital #0. Published by Hal Leon...
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Level 3 - SKU: HX.411245 By Bruno Mars. Arranged by Ishbah Cox. This edition: scorch. Pop,Rock. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.411245).
$6.00
That's What I Like (23-Piece Digital Pack)
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Fanfare
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INTERMÉDIAIRE
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Rock
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Bruno Mars
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Ishbah Cox
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That's What I Like
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Hal Leonard - Digital
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SheetMusicPlus
Level 3 - SKU: HX.411249 By Bruno Mars. Arranged by Ishbah Cox. This edition: scorch. Pop,Rock. 1 pages. Hal Leonard - Digital #0. Published by Hal Leon...
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Level 3 - SKU: HX.411249 By Bruno Mars. Arranged by Ishbah Cox. This edition: scorch. Pop,Rock. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.411249).
Digital Pack includes
:
That's What I Like - Conductor Score (Full Score)
That's What I Like - Flute/Piccolo
That's What I Like - Bb Clarinet
That's What I Like - Eb Alto Sax
That's What I Like - Bb Tenor Sax
That's What I Like - Eb Baritone Sax
That's What I Like - 1st Bb Trumpet
That's What I Like - 2nd Bb Trumpet
That's What I Like - 3rd Bb Trumpet
That's What I Like - F Horn
That's What I Like - Bb Horn/Flugelhorn
That's What I Like - 1st Trombone
That's What I Like - 2nd Trombone
That's What I Like - Baritone B.C.
That's What I Like - Baritone T.C.
That's What I Like - Electric Bass
That's What I Like - Tuba
That's What I Like - Bells/Xylophone
That's What I Like - Cymbals
That's What I Like - Snare Drum
That's What I Like - Quad Toms
That's What I Like - Multiple Bass Drums
That's What I Like - Aux Percussion
$55.00
Aquiles Priester's Top 100 Drum Fills Score Book
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Aquiles Priester
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Intermediate
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Aquiles Priester's Top 100 Dru
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Percussion - Beginning; Intermediate; Advanced - SKU: M0.30398MEB Composed by Aquiles Priester. Percussion: Snare Drum. E-book and online audio. Mel Bay...
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Percussion - Beginning; Intermediate; Advanced - SKU: M0.30398MEB Composed by Aquiles Priester. Percussion: Snare Drum. E-book and online audio. Mel Bay Publications - Digital Sheet Music #30398MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.30398MEB). ISBN 9781619116764. 8.75x11.75 inches.Usually books become movies. The history of the seventh art is so filled with examples that it's not worth citing one specific movie. That is the natural order of things. But what when this natural order is inverted and the movie becomes a book? That is what happened with drummer Aquiles Priester. After releasing two videos where he shows his unbeatable technique, in 2013 he released Aquiles Priester's Top 100 Drum Fills, a selection of fills that he recorded with the various bands he played in - Hangar, Angra, Freakeys. So, during the recording other fills were created and, as they were interesting ideas, they ended up being included in the package. This resulted in 150 fills, 100 of which were selected for the video - 25 ended up being included as bonus tracks, including themes with Hangar, Tony MacAlpine and Midas Fate. Like everything else he does, success was immediate. The video was voted Best Educational DVD of The Year by the renowned North-American magazine Modern Drummer, another feat for a musician used to accumulating similar feats. Now Aquiles Priester's Top 100 Drum Fills has just become a book. Many people asked me for the scores of the fills shown in the video, says Aquiles, and as I had almost everything written down, I decided to make their lives easier. It is another release by a musician used to breaking barriers as in 2011, when he became the only drummer in Brazilian history to enter the ranking of Modern Drummer magazine as 5th best prog metal drummer of the world, next to names like Neil Peart, Mike Portnoy, Gavin Harrison and Marco Minnemann. In 2015 Aquiles was once more nominated to take part of another poll and was elected best drummer in the hard rock category by the North-American magazine Drum!. More than that, he was also the first Brazilian drummer to have signature instruments released by manufactures such as Paiste, Pro-Mark and Mapex, besides having built a solid international career accompanying renowned musicians such as Tony MacAlpine and Vinnie Moore and being part of one of the biggest revelations of Brazilian metal in the last ten years, the band Noturnall. Includes access to online audio.
$19.99
Themes from the Beach Suspended Cymbals and Snare Drum
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Peter Westin
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Themes from the Beach Suspende
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Peter's Publishing House
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1011744 Composed by Peter Westin. Contemporary. Score and parts. 5 pages. Peter's Publishing House #3449691. Published ...
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Concert Band - Level 4 - SKU: A0.1011744 Composed by Peter Westin. Contemporary. Score and parts. 5 pages. Peter's Publishing House #3449691. Published by Peter's Publishing House (A0.1011744). Themes from the Beach is a multi movement composition released in 2017 that captures wonderful scenes while hanging out on the Beach. The First Movement, Atmospheres, is a beautiful tranquil setting in the key of C major while the beauty portrays the humidity. The Second Movement, is a dance like movement of the scene while people are strolling in Paradise. The Key signature contrast is from D minor to D major and then to D minor once again. The last two movements are in the Key of F major. The third movement displays of what it is like to chill out in the sunlight. This deeply moving ballad is so beautiful and will portray the longest movement of the piece. The last and fourth movement is a 6/8 Dance of getting yourself exposed to the sunlight.Themes from the Beach Suspended Cymbals and Snare Drum Parts. 5 pages long and is listed in the following movements. I - Atmospheres, II - Strolling in Paradise, III - Chillin Ballad, IV - Exposed to the Sunlight. Of Moderate to Advanced Difficulty. Separate part only (conductors Score purchased separately). May Require separation of parts.
$3.99
STREET BEAT #1
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Batterie
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DÉBUTANT
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Frank Pugh
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STREET BEAT #1
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Frank Pugh
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SheetMusicPlus
Drums - Level 1 - SKU: A0.942699 Composed by Frank Pugh. Standards. Score. 11 pages. Frank Pugh #3115355. Published by Frank Pugh (A0.942699).
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Drums - Level 1 - SKU: A0.942699 Composed by Frank Pugh. Standards. Score. 11 pages. Frank Pugh #3115355. Published by Frank Pugh (A0.942699). Street Beat #1 is a fun groove that fits as a parade cadence or as a stands tune for the Friday game, and it’s written with the young or inexperienced percussion section in mind. Its flexible instrumentation lets you decide what works best! It sounds good with just a snare drum, tenors, and one bass drum, but it has enough parts to include every member of the percussion section for a stands tune, pep rallies, or as a brief concert piece. Each of the three mallet parts can stand alone or in combination, and they are interchangeable on the instruments you have available. Bass drum parts are written in unison so that you may use however many players you have, and the optional auxiliary percussion can add a little extra something with the tambourine and vibraslap parts. Don’t forget the cowbell, either! Copy and paste these links into your browser if you’d like to know more about what I do, and thanks for checking out Street Beat #1! On Facebook: https://www.facebook.com/fpughmusic/ On LinkedIn: https://www.linkedin.com/in/frank-pugh-43073a68/
$4.99
Almost May Score and Parts
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Heidi Savoie
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Heidi Savoie
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Almost May Score and Parts
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Heidi Savoie
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SheetMusicPlus
String Quartet Cello,Double Bass,Piano,String Quartet,Viola,Violin - Level 3 - SKU: A0.1376321 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoi...
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String Quartet Cello,Double Bass,Piano,String Quartet,Viola,Violin - Level 3 - SKU: A0.1376321 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Jazz,Pop,Singer/Songwriter. 15 pages. Heidi Savoie #960865. Published by Heidi Savoie (A0.1376321). This score is an arrangement for piano, violin I and II, viola, cello, bass with optional drums.Backstory: Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, “Almost Mayâ€. Like springtime in the Northern Hemisphere, “Almost May†unfolds slowly and majestically, with ever-evolving layers for the senses to discover. What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. What to listen for: Variation I The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. What to listen for: Variation II The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax. Credits: I would like to thank Cole Canaday for the nuance, imagination and depth of understanding with which he brought this piece to life. I would also like to thank Blake Hamilton and Anastace for providing invaluable audio engineering feedback.
$24.99
Almost May Lead Sheet
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Instruments en Do
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FACILE
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Heidi Savoie
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Heidi Savoie
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Almost May Lead Sheet
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Heidi Savoie
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SheetMusicPlus
C Instrument - Level 2 - SKU: A0.1376331 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Instructional,Jazz,Singer/So...
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C Instrument - Level 2 - SKU: A0.1376331 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Instructional,Jazz,Singer/Songwriter. Lead Sheet / Fake Book. 1 pages. Heidi Savoie #960874. Published by Heidi Savoie (A0.1376331). This is a lead sheet for any instrument for the song Almost May. Almost May - Theme and VariationsBackstory: Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, “Almost Mayâ€. Like springtime in the Northern Hemisphere, “Almost May†unfolds slowly and majestically, with ever-evolving layers for the senses to discover. What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. What to listen for: Variation I The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. What to listen for: Variation II The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax. Credits: I would like to thank Cole Canaday for the nuance, imagination and depth of understanding with which he brought this piece to life. I would also like to thank Blake Hamilton and Anastace for providing invaluable audio engineering feedback.
$2.99
Almost May for Piano Solo
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Piano seul
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FACILE
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Heidi Savoie
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Heidi Savoie
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Almost May for Piano Solo
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Heidi Savoie
#
SheetMusicPlus
Piano Solo - Level 2 - SKU: A0.1376326 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Instructional,Jazz,Singer/Song...
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Piano Solo - Level 2 - SKU: A0.1376326 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Instructional,Jazz,Singer/Songwriter. Score. 1 pages. Heidi Savoie #960870. Published by Heidi Savoie (A0.1376326). This is a solo piano arrangement of Almost May, best suited for an early intermediate player. Almost May - Theme and VariationsBackstory: Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, “Almost Mayâ€. Like springtime in the Northern Hemisphere, “Almost May†unfolds slowly and majestically, with ever-evolving layers for the senses to discover. What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings. What to listen for: Variation I The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur. What to listen for: Variation II The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax.
$3.99
Last Train Home
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE
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Pat Metheny
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Will Corbin
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Last Train Home
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Will Corbin
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1461378 By Pat Metheny. By Pat Metheny. Arranged by Will Corbin. Contemporary,Pop. 25 pages...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1461378 By Pat Metheny. By Pat Metheny. Arranged by Will Corbin. Contemporary,Pop. 25 pages. Will Corbin #1040135. Published by Will Corbin (A0.1461378). My dad heard this song playing as background music for some TV show. He suggested it as a quintet piece (he liked us mostly because we played some of his favorite Dixieland tunes). The result is, well, at least a little bit weird. The original haunting Pat Metheny recording was played on electric sitar, with a high-speed snare drum providing train effect. I wanted to achieve the same thing, so the horns take care of it throughout the piece (with tuba providing it from start to finish). And the song needed a train horn for effect. I wanted to know what chord a train whistle blew, and the Internet told me it was a ninth chord. That's what those weird interruptions are all about.If you need other instrumentation, I'm happy to provide. Contact me at wilcor@aol.com.
$15.00
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That's What I Like: Snare Drum
