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--INSTRUMENTS--
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The Americans Come!
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The Americans Come!
SheetMusicPlus
Partitions à imprimer
41 partitions trouvées
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26
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
The Unquiet Grave from American Death Ballads (Downloadable)
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Voix haute
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David Conte
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The Unquiet Grave from America
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
High voice and piano - Moderately Difficult - SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. E. C. Schirmer M...
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High voice and piano - Moderately Difficult - SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8454-2E. Published by E. C. Schirmer Music Company - Digital (MQ.8454-2E). English.American Death Ballads was composed especially for tenor Brian Thorsett. We have been frequent collaborators since 2011, when he premiered the complete set of my Three Settings of W. B. Yeats for string quartet and tenor. At his urging, I transcribed and published my Three Poems of Christina Rossetti (originally for medium voice) for high voice, which he premiered at the San Francisco Conservatory in 2014. American Death Ballads was premiered by him at the San Francisco Conservatory, November 1, 2015, with pianist John Churchwell, and at the National Association of Teachers of Singing (NATS) Conference in Chicago, July 10, 2016, with pianist Warren Jones.The choice of texts for my American Death Ballads was inspired partly by Copland’s Old American Songs, which I deeply admire, but more by my dear friend and colleague the late Conrad Susa’s Two Murder Ballads. The ingenuity of Susa’s accompaniments for his ballads in imagining anew the original source material owes a great deal to Copland’s accompaniment for his songs. Though the content of my songs is completely original and not based on preexisting melodies, I have tried to expand on this further, as the texts are much longer, and go through many different moods and characters. The four texts I chose include stories about murder, death, and dying. Though two of the texts were written in England, they traveled to the colonies almost immediately. The subjects of the texts had spent time in America, and their stories were well known to Americans.Wicked Polly is a cautionary tale. Polly has lived a dissolute and immoral life, saying, 'I'll turn to God when I grow old.' Suddenly taken ill, she realizes that it is too late to repent. She dies in agony and is presumably sent to hell; young people are advised to heed. My musical setting is stately and preacherly in character for the narrator; for Polly it becomes pleading and remorseful. The Unquiet Grave was brought to the attention of Alan Lomax, the great American field collector of folk music, by English folk singer Shirley Collins. The text is taken from an English folk song dating from 1400. In The Unquiet Grave, a young man mourns his dead lover too fervently and prevents her from obtaining peace. The dead woman complains that his weeping is keeping her from peaceful rest. He begs a kiss; she tells him it would kill him. When he persists, wanting to join her in death, she explains that once they were both dead their hearts would simply decay, and that he should enjoy life while he has it. My setting is in a flowing Andante with a rocking accompaniment. Three voices are delineated here: the narrator, the mournful lover, and the dead lover speaking from the grave. The Dying Californian first appeared in the New England Diadem in 1854. Its lyrics are based on a letter from a New Englander’s sailor to his brother who is dying at sea while on the way to California to seek his fortune in the California gold fields. He implores his brother to impart his message to his father, mother, wife, and children. My setting opens with the singer alone in a moderate dirge tempo, then, joined by the piano, moves through many tonalities and moods before ending with supreme confidence as the speaker 'gained a port called Heaven/Where the gold will never rust.'Captain Kidd was a Scottish sailor who was tried and executed for piracy and murder in 1701. The American connection to this ballad is that Kidd escaped to America and for a time lived in New York and Boston, though he was a wanted criminal by the British authorities and was extradited to Britain, where he was hung at 'Executioner’s Dock.' The lyric was printed in Britain in 1701, traveling to the colonies almost immediately. Though the didactic tone of the text is similar to Wicked Polly, it expresses no regret until the final lines: 'Take warning now by me, and shun bad company, / Lest you come to hell with me, for I must die.' My setting is fast and spirited, expressing the confidence of a man who lived life as he wanted. -David Conte.
$3.50
The Americans Come! An Episode in France in the Year 1918. A Victory Song
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Piano, Voix
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Elizabeth A
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The Americans Come! An Episode
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - SKU: LV.23027 Composed by Elizabeth A. Wilbur & Fay Foster. World War I, Soldiers, Flags, Patriotism, War allies. Lester S. Levy Colle...
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Piano and voice - SKU: LV.23027 Composed by Elizabeth A. Wilbur & Fay Foster. World War I, Soldiers, Flags, Patriotism, War allies. Lester S. Levy Collection. 6 pages. Published by Johns Hopkins University Sheridan Libraries (LV.23027). The Americans Come! An Episode in France in the Year 1918. A Victory Song. Elizabeth A. Wilbur. Fay Foster. Published 1918 by J. Fischer & Bro., Fourth Avenue and Eighth Street (Astor Place) in New York. Composition of through-composed with piano and voice instrumentation. Subject headings for this piece include World War I, Soldiers, Flags, Patriotism, War allies. First line reads What is the cheering, my little one? oh, that my blinded eyes could see!.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
The Gift to Sing - SATB choir
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Chorale SATB
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Gospel Spirituel
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Musique Sacrée
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Francis Kayali
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The Gift to Sing - SATB choir
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Francis Kayali
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SheetMusicPlus
Choral Choir (SATB) - SKU: A0.973048 Composed by Francis Kayali. 20th Century,Contemporary. Octavo. 19 pages. Francis Kayali #6230277. Published by Fran...
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Choral Choir (SATB) - SKU: A0.973048 Composed by Francis Kayali. 20th Century,Contemporary. Octavo. 19 pages. Francis Kayali #6230277. Published by Francis Kayali (A0.973048). The Gift to Sing is a poem by James Weldon Johnson (1871-1938) published in 1917. The central theme of the text is one of optimism and resilience, using the power of song – meaning, more broadly, art or any kind of artful, heightened expression – to overcome adversity. Although the poem can be interpreted broadly to pertain to any kind of struggle, it is likely that Johnson, as a civil-rights activist was alluding more specifically to the oppression African-Americans in the United States, a struggle that continues to this day, in 2020. I composed this setting in September of 2020, right after the Black Lives Matter protests that took place that summer, so current events played a role in this interpretation on my part as well. If one reads the poem as pertaining the continued struggle of African Americans, some passages may come across as ambiguous. For instance, I brood not over the broken past should not be taken as suggesting that the horrors of the past should be forgotten, but as an injunction that the memory of these horrors should not discourage us or diminish our resolve to work toward overcoming the injustices. The musical inspiration for the opening of the piece comes from the song Lonesome Valley, which starts with a pentatonic melodic gesture. The pentatonic scale is often used in African American Spirituals, Christian hymns, and folksongs (e.g., Swing Low, Sweet Chariot, Amazing Grace, How Can I Keep from Singing?, Red River Valley, Oh Shenandoah). The more rhythmic parts take inspiration from the African-American spiritual tradition, as found for instance in the choral music of Moses Hogan (1957-2003). Meanwhile, the tenor solo at the end, is intended to be very loud, bright, and without the pronounced vibrato one would find in a Western operatic style. This kind of bright and intense vocal sound is not unfamiliar to most listeners, who may have encountered it in places as varied as Sacred Harp singing, the opening of the Lion King soundtrack, or the Muslim call to prayer.
$1.99
Home on the Range
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Piano seul
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INTERMÉDIAIRE
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Marianne Kim
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Marianne Kim
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Home on the Range
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Marianne Kim
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1229916 By Marianne Kim. By American Traditional. Arranged by Marianne Kim. Folk,Jazz,New Age,Traditional. Score. 4 pages...
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Piano Solo - Level 3 - SKU: A0.1229916 By Marianne Kim. By American Traditional. Arranged by Marianne Kim. Folk,Jazz,New Age,Traditional. Score. 4 pages. Marianne Kim #825674. Published by Marianne Kim (A0.1229916). It is included in the collection of Journeys And Memories - 10 Songs of Love and Longing.It is my pleasure to introduce this collection of piano solos featuring classic American folk songs by Stephen Foster, Henry Bishop, James Butterfield, and traditional songs. These timeless melodies have been beloved by generations of Americans, and it is my hope that this new collection will help to keep them alive and well for many years to come.What sets this collection apart is the fresh and contemporary style of harmonies and sounds that have been incorporated into the arrangements. While staying true to the original melodies and lyrics, the arrangements have been updated to give them a modern twist that is sure to appeal to today's audiences.Whether you are a seasoned pianist or a beginner, these arrangements are accessible and enjoyable to play. The songs in this collection are perfect for creating a warm and inviting atmosphere in any setting, from casual get-togethers to more formal occasions.CONNECT WITH MARIANNE KIM ► Website: https://www.mariannekimmusic.com ► Facebook: https://www.facebook.com/mariannekimmusic/ ► Instagram: https://www.instagram.com/kim.marianne/ ► Twitter: https://twitter.com/kim_marianne ► LinkedIn: https://www.linkedin.com/in/mariannekimmusic/ ► YouTube Piano: https://www.youtube.com/c/MarianneKimMusicTV ► YouTube Organ: https://www.youtube.com/c/MarianneKimOrgan ► 카카오톡: http://pf.kakao.com/_xnxmpexb.
$5.59
Come A Little Bit Closer
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Dulcimer
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INTERMÉDIAIRE
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Rock
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Jay and The Americans
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Jaymie Maham
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Come A Little Bit Closer
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Jaymie Maham
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SheetMusicPlus
By Jay and The Americans. By Bobby Hart, Tommy Boyce, and Wes Farrell. Arranged by Jaymie Maham. 20th Century,Film/TV,Folk,Pop,Rock. Individual part. ...
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By Jay and The Americans. By Bobby Hart, Tommy Boyce, and Wes Farrell. Arranged by Jaymie Maham. 20th Century,Film/TV,Folk,Pop,Rock. Individual part. 5 pages. Jaymie Maham #792971. Published by Jaymie Maham
$4.99
(ghost) Riders In The Sky (a Cowboy Legend)
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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INTERMÉDIAIRE
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Contemporain
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Johnny Cash
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Arthur Jesse & Peet du Toit
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(ghost) Riders In The Sky
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Peet du Toit
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.802616 By Johnny Cash. By Stan Jones. Arranged by Arthur Jesse & Peet du Toit. Contemporar...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.802616 By Johnny Cash. By Stan Jones. Arranged by Arthur Jesse & Peet du Toit. Contemporary. Score and parts. 9 pages. Peet du Toit #6023995. Published by Peet du Toit (A0.802616). The song tells a folk tale of a cowboy who has a vision of red-eyed, steel-hooved cattle thundering across the sky, being chased by the spirits of damned cowboys. One warns him that if he does not change his ways, he will be doomed to join them, forever trying to catch the Devil's herd across these endless skies. The story has been linked with old European myths of the Wild Hunt, in which a supernatural group of hunters passes the narrator in wild pursuit.Stan Jones stated that he had been told the story when he was 12 years old by an old Native American who resided north-east of the Douglas, Arizona border town, a few miles behind D Hill, north of Agua Prieta, Sonora. The Native Americans, possibly Apache, who lived within Cochise County, believed that when souls vacate their physical bodies, they reside as spirits in the sky, resembling ghost riders. He related this story to Wayne Hester, a boyhood friend (later owner of the Douglas Cable Company). As both boys were looking at the clouds, Stan shared what the old Native American had told him, looking in amazement as the cloudy shapes were identified as the ghost riders that years later, would be transposed into lyrics. The melody is based on the song When Johnny Comes Marching Home.
$15.00
Our Nation's Anthem
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Orchestre d'harmonie
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John Stafford Smith
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Jonathan Laflamme
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Our Nation's Anthem
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Jonathan S. Laflamme
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SheetMusicPlus
Concert Band - SKU: A0.971616 Composed by John Stafford Smith. Arranged by Jonathan Laflamme. Holiday,Patriotic,Standards. Score and parts. 26 pages. Jo...
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Concert Band - SKU: A0.971616 Composed by John Stafford Smith. Arranged by Jonathan Laflamme. Holiday,Patriotic,Standards. Score and parts. 26 pages. Jonathan S. Laflamme #515237. Published by Jonathan S. Laflamme (A0.971616). OUR NATION’S ANTHEM The Star Spangled Banner Every Band Director is entrusted with the fundamental instillation of the importance of our Nation’s Anthem to not only the musicians under his or her direction but also the audience that often varies from a concert to a community gathering and often times a sporting event. As the lives of Americans get busier and busier ‘perfect’ instrumentation at the aforementioned venues increasingly becomes more of a challenge to maintain the integrity required of any performance of the ‘Star Spangled Banner.’ This arrangement will sound great with almost any instrumentation!
$34.99
The Ethiopian Quadrilles
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Piano seul
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Henry Oakey
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(2) Air. Lucy Long
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The Ethiopian Quadrilles
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano - SKU: LV.14073 Composed by Henry Oakey. African Americans, Musicians, Banjos, Dancing, Ethnic stereotypes. Lester S. Levy Collection. 7 pages. Pu...
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Piano - SKU: LV.14073 Composed by Henry Oakey. African Americans, Musicians, Banjos, Dancing, Ethnic stereotypes. Lester S. Levy Collection. 7 pages. Published by Johns Hopkins University Sheridan Libraries (LV.14073). The Ethiopian Quadrilles. (1) Air. Buffalo Gals; (2) Air. Lucy Long; (3) Air. Sun Go Down, Up Come De Moon; (4) Air. Lucy Neal; (5) La Finale. The Boatman's DAnce, And Railroad Overture. by Henry Oakey. Published [n.d.] by H. Tolkien, at his Piano Forte Warehouse, 28 King William St., London Bridge in London. Composition of da capo, theme and variation with piano instrumentation. Subject headings for this piece include African Americans, Musicians, Banjos, Dancing, Ethnic stereotypes. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
American Anthem- theBanner
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John W
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American Anthem- theBanner
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John Fisher
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SheetMusicPlus
Small Ensemble - Level 2 - SKU: A0.972955 Composed by John W. Fisher. Contemporary,Holiday,Patriotic. Score and parts. 2 pages. John Fisher #3537133. Pu...
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Small Ensemble - Level 2 - SKU: A0.972955 Composed by John W. Fisher. Contemporary,Holiday,Patriotic. Score and parts. 2 pages. John Fisher #3537133. Published by John Fisher (A0.972955). 1st of a patriotic trilogy arranging the words of our National Anthem that begins pp at the dawns's early light and as the star spangled banner finally becomes visible, it crescendos in a dramatic ending. Used with the pledge, or with the declaration or standing by itself it is a fine choral arrangement of words we as Americans hold so dear.
$4.50
Razors in the Air. Comic Song & Chorus
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Piano, Voix
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Razors in the Air. Comic Song
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - SKU: LV.4992 African Americans, Dialects, Homecomings, Love, Corn, Fighting, Death, Marriage. Lester S. Levy Collection. 4 pages. Publ...
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Piano and voice - SKU: LV.4992 African Americans, Dialects, Homecomings, Love, Corn, Fighting, Death, Marriage. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.4992). Razors in the Air. Comic Song & Chorus. n. Published 1880 by Oliver Ditson & Co. in Boston. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include African Americans, Dialects, Homecomings, Love, Corn, Fighting, Death, Marriage. First line reads Come, my love, and go with me, Ah! my love, I'll meet you.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
Gathering Storms (Movement 2 from American Serenade Symphony): Viola
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Orchestre à Cordes
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Robert Kerr
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Gathering Storms
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
String Orchestra - SKU: AX.00-PC-0001098_VA1 Viola. Composed by Robert Kerr. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00...
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String Orchestra - SKU: AX.00-PC-0001098_VA1 Viola. Composed by Robert Kerr. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0001098_VA1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001098_VA1). UPC: 038081299525.A stirring piece, this second movement of American Serenade Symphony depicts the time in which the Native Americans were struggling with the arrival of the Europeans in this land. Listen for the Native-American drums of war and the promise of battles to come! This title is available in SmartMusic.Concert/Contest.
$5.99
Beer Barrel Polka (Roll Out The Barrel)
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Bobby Vinton
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Chris Gorman
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Beer Barrel Polka
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Chris Gorman
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SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 2 - SKU: A0.1489227 By Bobby Vinton. By Jaromir Vejvoda, Lew Brown, Vasek Zeman, and Vladimir A. Timm. Arranged by Chris Gorman. Traditional. Brass Band. 40 pages. Chris Gorman #1066087. Published by Chris Gorman (A0.1489227). A Brass Band arrangement of a well known drinking song. Beer Barrel Polka, originally in Czech Škoda lásky, also known as The Barrel Polka, Roll Out the Barrel, or Rosamunde, is a 1927 polka composed by Czech musician Jaromír Vejvoda. Lyrics were added in 1934, subsequently gaining worldwide popularity during World War II as a drinking song. It was claimed many times that the song was written in the country where it had just become a hit. TIME Magazine wrote that Germans insisted it was an old Bavarian drinking song. Americans and British thought it was one of their own. Anyhow, they all sang it. Its actual composer was not widely known until after the war.
$35.00
The Sorrow Suite
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Orchestre d'harmonie
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AVANCÉ
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Devon Williams
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The Sorrow Suite
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Devon Williams
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.1022829 Composed by Devon Williams. Contemporary,Instructional,Standards. Score and Parts. 89 pages. Devon Williams #65...
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Concert Band - Level 5 - SKU: A0.1022829 Composed by Devon Williams. Contemporary,Instructional,Standards. Score and Parts. 89 pages. Devon Williams #6560657. Published by Devon Williams (A0.1022829). To the director and band, please play this with passion and feeling. This piece was written as a way to express my feelings towards the death of George Floyd. His death was unnecessary and it sparked a movement for African-Americans. As a fellow African-American, my feelings ranged from fear, pain, and even anger. After his death, I had the inspiration to write something that will get the audience's attention. It is repetitive because the treatment and even death of my fellow African-Americans continue to happen. I ask that when you play this, try to put yourself in the shoes of African-Americans and play your part with the feeling that goes with each movement. Thank you so much for making this piece come to life! .
$80.00
The Americans Come!
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Chorale 2 parties
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DÉBUTANT
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Contemporain
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Fay Foster
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Jason Cole
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The Americans Come!
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Jason Cole
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SheetMusicPlus
Choral Choir (TB) - Level 1 - Composed by Fay Foster. Arranged by Jason Cole. 20th Century, Film/TV, Folk, Holiday, Patriotic. Octavo. 10 pages. Jas...
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Choral Choir (TB) - Level 1 - Composed by Fay Foster. Arranged by Jason Cole. 20th Century, Film/TV, Folk, Holiday, Patriotic. Octavo. 10 pages. Jason Cole #3095373. Published by Jason Cole
$1.99
Here We Come A-Wassailing (The American Edition) - lead sheet (as heard on Dr. Demento Show)
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Traditional, Samuel Stokes
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Samuel Stokes
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Here We Come A-Wassailing
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SamuelStokesMusic.com
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SheetMusicPlus
Voice Duet Guitar,Voice - SKU: A0.562144 Composed by Traditional, Samuel Stokes. Arranged by Samuel Stokes. Christian,Christmas,Concert,Contemporary,Fol...
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Voice Duet Guitar,Voice - SKU: A0.562144 Composed by Traditional, Samuel Stokes. Arranged by Samuel Stokes. Christian,Christmas,Concert,Contemporary,Folk. 2 pages. SamuelStokesMusic.com #5297069. Published by SamuelStokesMusic.com (A0.562144). This is a lead sheet of the parody song Here We Come A-Wassailing (The American Edition) as heard on The Dr. Demento Show. This hilarious song explores the fact that most Americans don't know many of the British idioms found in the Christmas carols that we sing every single year. Learn more about Samuel Stokes at https://www.SamuelStokesMusic.com
$2.99
Juneteenth Call for Flute and Harp
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George Edward Brandon
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George Edward Brandon
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Juneteenth Call for Flute and
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Blue Unity Music
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SheetMusicPlus
Instrumental Duet - Level 4 - SKU: A0.1244850 By George Edward Brandon. By George Edward Brandon. Arranged by George Edward Brandon. 21st Century,Holida...
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Instrumental Duet - Level 4 - SKU: A0.1244850 By George Edward Brandon. By George Edward Brandon. Arranged by George Edward Brandon. 21st Century,Holiday. 3 pages. Blue Unity Music #839773. Published by Blue Unity Music (A0.1244850). This piece is a short and sprightly celebration of the anniversary of the date on which the last enslaved African Americans learned that the War between the States had concluded, slavery had been abolished and they had become free people. This was in Galveston, Texas on June 17, 1865. Another version of this piece, called Juneteenth Call for GR, exists for flute and clarinet, and there is also a third but slightly different version of it for saxophone quartet. A video of the flute and harp version was recorded by Castle of Our Skin and appears on their youtube channel as the Black Composer Challenge #2.
$4.50
Come A Little Bit Closer
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Ligne De Mélodie, (Paroles) et Accords
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Rock
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Jay and The Americans
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Come A Little Bit Closer
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Jay and The Americans. Rock. Fakebook. 2 pages. Published by Hal Leonard - Digital Sheet Music (HX.354824). - Fakebook - Rock - Hal Leonard - Digital Sheet M...
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By Jay and The Americans. Rock. Fakebook. 2 pages. Published by Hal Leonard - Digital Sheet Music (HX.354824). - Fakebook - Rock - Hal Leonard - Digital Sheet Music
$3.99
Lithuanian Nonet for winds & strings
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Contemporain
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Juozas ŽileviÄius
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Kazys DaugÄ—la
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Lithuanian Nonet for winds &am
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Kazys Daugela
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SheetMusicPlus
A Clarinet,Bassoon,Cello,Double Bass,Flute,Horn,Oboe,Viola,Violin - Level 4 - SKU: A0.1358397 Composed by Juozas ŽileviÄius. Arranged by Kazys Dau...
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A Clarinet,Bassoon,Cello,Double Bass,Flute,Horn,Oboe,Viola,Violin - Level 4 - SKU: A0.1358397 Composed by Juozas ŽileviÄius. Arranged by Kazys DaugÄ—la. 20th Century,Classical. 162 pages. Kazys Daugela #942837. Published by Kazys Daugela (A0.1358397). Juozas ŽileviÄius (1891–1985) was an organist, composer, educator, and researcher in the history of music. In 1919, when graduating from the Petrograd Conservatory, he composed Symphony in F minor, the first Lithuanian composition in this genre. Upon his return to Lithuania in 1920, ŽileviÄius worked in various musical life spheres of the young republic: he took part in the activities of the Society of Lithuanian Art Creators, contributed to the establishment of Kaunas Opera House, worked for several years as the head of the Art Department at the Ministry of Education, prepared the first music curricula for secondary schools and progymnasiums, conducted courses for music teachers, taught at music schools in Kaunas and KlaipÄ—da, published a musical periodical, and initiated the first Lithuanian Song Festival. Musicologist DanutÄ— PetrauskaitÄ— managed to bring copies of three-movement Nonet for strings and wind instruments from Chicago to Lithuania. ŽileviÄius started writing it in December 1924. The composition was apparently inspired by the Czech Nonet members, working at KlaipÄ—da School of Music, who had been invited by its director Stasys Å imkus from Prague. This was a lively and youthful group that gave concerts all over Lithuania. It amazed audiences with its high artistic level and set an example for students, encouraging them to form various ensembles. The repertoire of the Czech Nonet consisted mainly of works from the Classical and Romantic eras. There were few contemporary compositions, and therefore the Czech Nonet performers turned to composers with a request to write new works for them. They might have discussed the matter with ŽileviÄius with whom they maintained a close relationship, as they did later with Lithuanian composer Jeronimas KaÄinskas.ŽileviÄius finished writing Nonet on 15 November 1926. All three movements were based on the intonations of Lithuanian folk melodies. The first movement (Andante. Allegro moderato) imitatively developed the motifs of the song “Autumn will Comeâ€, while the second one (Andante cantabile) featured fragments of the song I Rode through the Woodâ€, and the third one (Allegro) of the song “Oh, you Bird Cherryâ€. The composition was written professionally, it should have been attractive and interesting for the performers, but, unfortunately, it was never performed. The reasons for this could have been various: disagreements between the director of  KlaipÄ—da Music School, Å imkus, and his deputy, ŽileviÄius, as well a the Czech teachers’ falling into disgrace and starting to resign from their teaching positions in the autumn of 1926. A few years later, ŽileviÄius also resigned from the school: in January 1929 he left for the USA and settled in Elizabeth, New Jersey, where he worked as a church organist. He also brought his Nonet from KlaipÄ—da, hoping that this work would be heard in America. To this end, he found transcribers who made instrumental parts from the score. As it turned out, there were few Lithuanian instrumentalists in the USA, and ŽileviÄius did not have close relations with Americans. Thus Nonet, which the composer regarded as one of his most successful compositions after his Symphony in F minor, sank into oblivion. Thanks to Kazys DaugÄ—la, an opportunity appeared to edit and digitise it after the sheet music of Nonet had arrived in Lithuania. This work reveals the origins of the Lithuanian musical culture, enriches the repertoire of chamber-instrumental ensembles, broadens music education curricula, inks the name of ŽileviÄius, the author of both the first Lithuanian symphony and of the first nonet, in the history of music, and contributes to the preservation and fostering of the Lithuanian musical heritage.by Prof. Dr. DanutÄ— PetrauskaitÄ—.
$59.99
PIANO SONATA
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Piano seul
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AVANCÉ
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Aaron Robinson
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PIANO SONATA
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Music at Immanuel
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1477723 Composed by Aaron Robinson. 20th Century,Classical. Score. 55 pages. Music at Immanuel #1055103. Published by Mus...
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Piano Solo - Level 5 - SKU: A0.1477723 Composed by Aaron Robinson. 20th Century,Classical. Score. 55 pages. Music at Immanuel #1055103. Published by Music at Immanuel (A0.1477723). Dedicated to pianist Eric Xi Xin Liang, PIANO SONATA by American composer Aaron Robinson is a programmatic work on a monumental scale. Composed in four movements representing four areas of Maine: Machigonne (Portland), Down East, Malaga Island and Katahdin, each paints a detailed portrait of a specific time and place in the State’s history. Its compositional structure draws heavily on the sights and sounds associated with each region while weaving original themes throughout. Mimesis is used to represent the native calls of the indigenous birds found within the state, such as the phoebe, bobolink and the pileated woodpecker; while hymns, songs and sea shanties are incorporated to represent various time periods. Movement I - MACHIGONNE - Native Americans originally named what is today the Portland peninsula of Maine “Machigonne”, which translates “Great Neck”. The movement quotes several sacred and ritual songs of the Passamaquoddy Tribe of Maine. The struggle between centuries of habitation by the native peoples of the area is represented by the arrival of early settlers and illustrated by juxtaposing hymn tunes and dance music of the past eras.Movement II - DOWN EAST - is the eastern coastal area of the state closely associated with the French territory of Acadia. Replete with historic sea shanties and tunes, the sound of tolling ship and buoy bells, lighthouse fog horns, and ocean winds are intertwined to create a high-spirited journey which culminates in the familiar Shaker tune from Alfred, Maine.Movement III - MALAGA ISLAND - Today an uninhabited reserve, Malaga Island was once the home to an interracial community dating from the 1860s to 1911, when its residents were forcibly evicted by the State. The opening theme represents the remnants of the island in its present state; haunted by the memories and unsettling muted solitude of the past and its historical injustice. A peaceful hymn depicting simpler times becomes slowly unraveled, erupting in a traumatic chaos that is never resolved. A ghostly refrain can be heard in the distance as the movement concludes.Movement IV - KATAHDIN - Mount Katahdin (“Catahdrin”), called “Great Mountain” by the Penobscot Native Americans, is located within the Northeast Piscataquis County, the northern terminus of the Appalachian Trail. The grandeur of its majesty is portrayed by the original themes depicting epic rising and falling passages traversing over centuries. Native Americans believed the mountain to be the home of the storm god Pamola (a place to be avoided), which is characterized by ever-changing major and minor keys within the often times turbulent motifs. The sonata ends in a tonal key: bringing the atonality and discordant change of the work and its representation as a whole to a final resolve.PIANO SONATA lasts approximately 25 minutes.
$9.99
A Whitman Triptych: III. Facing West (Downloadable)
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David Conte
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A Whitman Triptych: III. Facin
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Soprano voice and tenor voice soli, SATB choir unaccompanied - Moderately Difficult - SKU: MQ.8323-E Composed by David Conte. Advanced/Collegiate. Secul...
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Soprano voice and tenor voice soli, SATB choir unaccompanied - Moderately Difficult - SKU: MQ.8323-E Composed by David Conte. Advanced/Collegiate. Secular, 21st Century, Americana, Children, Creation/Nature, Hope/Assurance. Instrument part. 9 pages. Duration 5 minutes, 42 seconds. E. C. Schirmer Music Company - Digital #8323-E. Published by E. C. Schirmer Music Company - Digital (MQ.8323-E). UPC: 600313483233. English. The three a cappella choral pieces that comprise “A Whitman Triptych†were composed between 2012 and 2014. O Setting Sun was commissioned by the Madison Chamber Choir, Madison, Wisconsin, Anthony Cao, conductor, and was premiered on April 20th, 2012. “What is the Grass†was composed for Cappella SF, Ragnar Bohlin, conductor, and is being premiered on tonight’s concert. Facing West was commissioned in celebration of the 75th anniversary of the Golden Gate Bridge by the International Orange Chorale, Zane Fiala, conductor, and was premiered on May 27th, 2012. I first set Whitman to music in 1986,when I adapted part of “When Lilacs Last in the Dooryard Bloomed†as the basis for my composition “Invocation and Dance.†I went on to set “Good-Bye, My Fancy†for Male Chorus and Soprano Saxophone in 1992, and “Song of the Open Road†for Mixed Chorus and Piano in 2004. Like so many composers, I have found the visionary quality of Whitman’s verse inspiring; the vigor and intensity of the poetry seem naturally to draw out music. Facing West is drawn from the Children of Adam book from Walt Whitman's Leaves of Grass. The full title of the poem is Facing West From California's Shores. Though Whitman never visited California, his biographer Justin Kaplan made the insightful observation that he imagined California's shores to be the starting point for a journey through time and culture. Here was Walt, 'a child, very old,' facing home again, looking over to it, joyous, as after long travel, growth, and sleep, asking: 'But where is what I started for, so long ago?/And why is it yet unfound?' The invitation from the International Orange Chorale to compose a piece in honor of the 75th anniversary of the Golden Gate Bridge led me easily and naturally to this great poem. The tone of Facing West is rich and complex, and draws on one of Whitman's favorite themes of using travel to distant lands as a metaphor for spiritual development. In his poem, Whitman strikes notes of reflection, of longing for adventure, and ultimately ends with a question. The continuing relevance of this question is for me beautifully addressed by the contemporary American writer Edmund White in his 1980 book States of Desire. To paraphrase somewhat, White writes: California is where dreams may come true, and the problem it presents is whether, after all, we wanted these particular dreams to be fulfilled - or would we have preferred others? Did we know what price these dreams would exact? Did we anticipate the ways in which they would unsuit us for the business of daily life? Or should our notion of daily life itself be transformed? For Americans, California's coast is as far as one can go in establishing new roots and new ways of living. As a transplanted Midwesterner who has made California his home for nearly three decades, I experience the Golden Gate Bridge as a beautiful monument to the aspirations and dreams of a restless and inventive people, qualities that Whitman's poem captures perfectly. -David ConteDuration: 5:42
$2.65
My Old Kentucky Home, Good Night
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Piano seul
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INTERMÉDIAIRE
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Marianne Kim
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Marianne Kim
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My Old Kentucky Home, Good Nig
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Marianne Kim
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1229920 By Marianne Kim. By Stephen Foster. Arranged by Marianne Kim. Folk,Jazz,New Age,Standards,Traditional. Score. 4 p...
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Piano Solo - Level 3 - SKU: A0.1229920 By Marianne Kim. By Stephen Foster. Arranged by Marianne Kim. Folk,Jazz,New Age,Standards,Traditional. Score. 4 pages. Marianne Kim #825679. Published by Marianne Kim (A0.1229920). It is included in the collection of Journeys And Memories - 10 Songs of Love and Longing.It is my pleasure to introduce this collection of piano solos featuring classic American folk songs by Stephen Foster, Henry Bishop, James Butterfield, and traditional songs. These timeless melodies have been beloved by generations of Americans, and it is my hope that this new collection will help to keep them alive and well for many years to come.What sets this collection apart is the fresh and contemporary style of harmonies and sounds that have been incorporated into the arrangements. While staying true to the original melodies and lyrics, the arrangements have been updated to give them a modern twist that is sure to appeal to today's audiences.Whether you are a seasoned pianist or a beginner, these arrangements are accessible and enjoyable to play. The songs in this collection are perfect for creating a warm and inviting atmosphere in any setting, from casual get-togethers to more formal occasions.CONNECT WITH MARIANNE KIM ► Website: https://www.mariannekimmusic.com ► Facebook: https://www.facebook.com/mariannekimmusic/ ► Instagram: https://www.instagram.com/kim.marianne/ ► Twitter: https://twitter.com/kim_marianne ► LinkedIn: https://www.linkedin.com/in/mariannekimmusic/ ► YouTube Piano: https://www.youtube.com/c/MarianneKimMusicTV ► YouTube Organ: https://www.youtube.com/c/MarianneKimOrgan ► 카카오톡: http://pf.kakao.com/_xnxmpexb.
$5.59
Oh Shennandoah
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Piano seul
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INTERMÉDIAIRE
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Marianne Kim
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Marianne Kim
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Oh Shennandoah
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Marianne Kim
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1229921 By Marianne Kim. By American Traditional. Arranged by Marianne Kim. Folk,Jazz,New Age,Standards,Traditional. Scor...
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Piano Solo - Level 3 - SKU: A0.1229921 By Marianne Kim. By American Traditional. Arranged by Marianne Kim. Folk,Jazz,New Age,Standards,Traditional. Score. 3 pages. Marianne Kim #825680. Published by Marianne Kim (A0.1229921). It is included in the collection of Journeys And Memories - 10 Songs of Love and Longing.It is my pleasure to introduce this collection of piano solos featuring classic American folk songs by Stephen Foster, Henry Bishop, James Butterfield, and traditional songs. These timeless melodies have been beloved by generations of Americans, and it is my hope that this new collection will help to keep them alive and well for many years to come.What sets this collection apart is the fresh and contemporary style of harmonies and sounds that have been incorporated into the arrangements. While staying true to the original melodies and lyrics, the arrangements have been updated to give them a modern twist that is sure to appeal to today's audiences.Whether you are a seasoned pianist or a beginner, these arrangements are accessible and enjoyable to play. The songs in this collection are perfect for creating a warm and inviting atmosphere in any setting, from casual get-togethers to more formal occasions.CONNECT WITH MARIANNE KIM ► Website: https://www.mariannekimmusic.com ► Facebook: https://www.facebook.com/mariannekimmusic/ ► Instagram: https://www.instagram.com/kim.marianne/ ► Twitter: https://twitter.com/kim_marianne ► LinkedIn: https://www.linkedin.com/in/mariannekimmusic/ ► YouTube Piano: https://www.youtube.com/c/MarianneKimMusicTV ► YouTube Organ: https://www.youtube.com/c/MarianneKimOrgan ► 카카오톡: http://pf.kakao.com/_xnxmpexb.
$5.59
When You And I were Young, Maggie
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Piano seul
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INTERMÉDIAIRE
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Marianne Kim
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Marianne Kim
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When You And I were Young, Mag
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Marianne Kim
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1229926 By Marianne Kim. By James Austin Butterfield. Arranged by Marianne Kim. Folk,Jazz,New Age,Standards,Traditional. ...
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Piano Solo - Level 3 - SKU: A0.1229926 By Marianne Kim. By James Austin Butterfield. Arranged by Marianne Kim. Folk,Jazz,New Age,Standards,Traditional. Score. 4 pages. Marianne Kim #825685. Published by Marianne Kim (A0.1229926). It is included in the collection of Journeys And Memories - 10 Songs of Love and Longing.It is my pleasure to introduce this collection of piano solos featuring classic American folk songs by Stephen Foster, Henry Bishop, James Butterfield, and traditional songs. These timeless melodies have been beloved by generations of Americans, and it is my hope that this new collection will help to keep them alive and well for many years to come.What sets this collection apart is the fresh and contemporary style of harmonies and sounds that have been incorporated into the arrangements. While staying true to the original melodies and lyrics, the arrangements have been updated to give them a modern twist that is sure to appeal to today's audiences.Whether you are a seasoned pianist or a beginner, these arrangements are accessible and enjoyable to play. The songs in this collection are perfect for creating a warm and inviting atmosphere in any setting, from casual get-togethers to more formal occasions.CONNECT WITH MARIANNE KIM ► Website: https://www.mariannekimmusic.com ► Facebook: https://www.facebook.com/mariannekimmusic/ ► Instagram: https://www.instagram.com/kim.marianne/ ► Twitter: https://twitter.com/kim_marianne ► LinkedIn: https://www.linkedin.com/in/mariannekimmusic/ ► YouTube Piano: https://www.youtube.com/c/MarianneKimMusicTV ► YouTube Organ: https://www.youtube.com/c/MarianneKimOrgan ► 카카오톡: http://pf.kakao.com/_xnxmpexb.
$5.59
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The Americans Come!
