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The Story Of Reuben Clamzo & His Strange Daughter
Chorale TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…
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Choral Choir (TTBB) - Level 2 - Digital Download 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
3.69 €
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Chorale TTBB
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo & His Strange Daughter
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Edition Craig Hanson
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SheetMusicPlus
Paul Wehage: To You for baritone, tenor saxophone and piano
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Downlo…
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Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Download SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3396161. Published by Musik Fabrik Music Publishing (A0.534375). To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.Whitman’s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poe’s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poet’s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..To YouWhoever you are, I fear you are walking the walks of dreams,I fear these supposed realities are to melt from under your feet and hands,Even now your features, joys, speech, house, trade, manners,troubles, follies, costume, crimes, dissipate away from you,Your true soul and body appear before me.They stand forth out of affairs, out of commerce, shops, work,farms, clothes, the house, buying, selling, eating, drinking,suffering, dying.Whoever you are, now I place my hand upon you, that you be my poem,I whisper with my lips close to your ear.I have loved many women and men, but I love none better than you.O I have been dilatory and dumb,I should have made my way straight to you long ago,I should have blabb'd nothing but you, I should have chanted nothingbut you.I will leave all and come and make the hymns of you,None has understood you, but I understand you,None has done justice to you, you have not done justice to yourself,None but has found you imperfect, I only find no imperfection in you,None but would subordinate you, I only am he who will never consentto subordinate you,I only am he who places over you no master, owner, better, God,beyond what waits intrinsically in yourself.Painters have painted their swarming groups and the centre-figure of all,From the head of the centre-figure spreading a nimbus of gold-color'd light,But I paint myriads of heads, but paint no head without its nimbusof gold-color'd light,From my hand from the brain of every man and woman it streams,effulgently flowing forever.O I could sing such grandeurs and glories about you!You have not known what you are, you have slumber'd upon yourselfall your life,Your eyelids have been the same as closed most of the time,What you have done returns already in mockeries,(Your thrift, knowledge, prayers, if they do not return inmockeries, what is their return?)The mockeries are not you,Underneath them and within them I see you lurk,I pursue you where none else has pursued you,Silence, the desk, the flippant expression, the night, theaccustom'd routine, if these conceal you from others or fromyourself, they do not conceal you from me,The shaved face, the unsteady eye, the impure complexion, if thesebalk others they do not balk me,The pert apparel, the deform'd attitude, drunkenness, greed,premature death, all these I part aside.There is no endowment in man or woman that is not tallied in you,There is no virtue,.
$29.95
27.69 €
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Paul Wehage
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Paul Wehage: To You for baritone, tenor saxophone and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Powder Your Face With Sunshine
Piano, Voix et Guitare
Piano/Vocal/Chords - Digital Download SKU: AX.00-XS-0000010 By Guy Lombardo. By Guy…
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Piano/Vocal/Chords - Digital Download SKU: AX.00-XS-0000010 By Guy Lombardo. By Guy Lombardo and Stanley Rochinski. Nostalgia. 3 pages. Alfred Music - Digital Sheet Music #00-XS-0000010. Published by Alfred Music - Digital Sheet Music (AX.00-XS-0000010). ISBN 9780739068540. UPC: 038081386140.This songbook contains more than 50 of the biggest hits of the 1940s. Each song is sure to spark a memory or create a new one for pianists and vocalists of all ages. For practice, performance, or pleasure, play and sing your way through your favorite decade in pop music history! Titles: The Anniversary Waltz (Vera Lynn) * As Time Goes By (Dooley Wilson) * At Last (Glenn Miller) * Ballerina (Vaughn Monroe) * Blues in the Night (Woody Herman) * Chattanooga Choo Choo (Glenn Miller) * Don't Fence Me In (Bing Crosby and The Andrews Sisters) * Don't Sit Under the Apple Tree (The Andrews Sisters) * Elmer's Tune (Glenn Miller) * Enjoy Yourself (Guy Lombardo) * Fools Rush In (Glenn Miller) * A Gal in Calico (Johnny Mercer) * How About You? (Tommy Dorsey) * How Are Things in Glocca Morra? (Buddy Clark) * How High the Moon (Benny Goodman) * I Fall in Love Too Easily (Frank Sinatra) * I'll Walk Alone (Dinah Shore) * I'm in Love (Doris Day) * Imagination (Glenn Miller) * It's Magic (Doris Day) * I've Heard That Song Before (Harry James) * La Vie en Rose (Edith Piaf) * Laura (Woody Herman) * Mam'selle (Art Lund) * The More I See You (Dick Haymes) * Near You (Francis Craig) * New York, New York (Gene Kelly, Frank Sinatra, & Jules Munshin) * Oh! What It Seemed to Be (Frank Sinatra) * The Old Lamp-Lighter (Sammy Kaye) * Only Forever (Bing Crosby) * Paper Doll (The Mills Brothers) * Powder Your Face with Sunshine (Guy Lombardo) * Red Roses for a Blue Lady (Vaughn Monroe) * Serenade in Blue (Glenn Miller) * Speak Low (Guy Lombardo) * Straighten Up and Fly Right (Nat King Cole) * Swinging on a Star (Bing Crosby) * Take the A Train (Duke Ellington) * Taking a Chance on Love (Benny Goodman) * That Lucky Old Sun (Frankie Laine) * Too-Ra-Loo-Ra-Loo-Ral (That's an Irish Lullaby) (Bing Crosby) * The Trolley Song (Judy Garland) * You'd Be So Nice to Come Home To (Dinah Shore) * You'll Never Know (Dick Haymes) * Zip-a-Dee-Doo-Dah (James Baskett).
$3.99
3.69 €
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Piano, Voix et Guitare
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Guy Lombardo
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Powder Your Face With Sunshine
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Chording to the Dance Masters Full Score Version with chords Book 1 - Score Only
Level 3 - Digital Download SKU: A0.1133711 By Various. By Anonymous, Giorgio Mainer…
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Level 3 - Digital Download SKU: A0.1133711 By Various. By Anonymous, Giorgio Mainerio, Michael Praetorius, Pierre Attaignant, Pierre Certon, Pierre Phalese, and Tielman Susato. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733808. Published by Wold Meridian (A0.1133711). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances. You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes. Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on. Working with this publication For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.
$12.00
11.09 €
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Various
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Alastair Lodge
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Chording to the Dance Masters Full Score Version with chords Book 1 - Score Only
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Wold Meridian
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SheetMusicPlus
Chording to the Dance Masters Full Score Version with chords Book 2 - Score Only
Level 3 - Digital Download SKU: A0.1133721 By Various. By Anonymous, Claude Gervais…
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Level 3 - Digital Download SKU: A0.1133721 By Various. By Anonymous, Claude Gervaise, Claudin de Sermisy, Erasmus Widmann, Giorgio Mainerio, Henry VIII, Juan Del Encina, Michael Praetorius, Pierre Attaignant, Pierre Phalese, Thoinot Arbeau, Tielman Susato, and William Cornysh. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733832. Published by Wold Meridian (A0.1133721). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances.  You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes. Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on. Working with this publication For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.
$12.00
11.09 €
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Various
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Alastair Lodge
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Chording to the Dance Masters Full Score Version with chords Book 2 - Score Only
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Wold Meridian
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SheetMusicPlus
We Must Learn to Walk Together
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waite…
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waites. By Lisa Waites. Arranged by Lisa Waites. Folk,Holiday,Multicultural,Praise & Worship,Sacred,World. Score. 2 pages. Servant Song Music and Ministry #649158. Published by Servant Song Music and Ministry (A0.1044425). I wrote this reconciliation hymn back in 2016, when elders from the Blood Tribe, Metis, Piikani, and Siksika nations of Southern Alberta led the Reconciliation Week events at Medicine Hat College, in Medicine Hat, Alberta. They invited me to write and teach this hymn as part of the sessions at MHC, where I was (then) the ecumenical Chaplain. It has been an honour to participate in this annual tradition of indigenous leaders sharing their distinctive cultural practices, traditions, and values with the public in Medicine Hat (and the surrounding communities) for a decade, now. During the session I was asked to assist with, the Elders were sharing the Seven Grandfathers' Teachings, and so I included these core values into the lyrics of the hymn. The work in Medicine Hat started with expressions of lament and support from a group of local churches and the Medicine Hat College Chaplaincy program while the Truth and Reconciliation Commission was crossing the country. We quickly realized that many non-indigenous Canadians genuinely wanted to learn more about their First Nations, Metis, and Inuit neighbours. Seeing an urgent need for greater awareness about the intergenerational damage that was done by the Indian Residential School system here in Canada, and also identifying these Reconciliation events as a way to decrease racist stereotypes and assumptions about indigenous peoples, we decided to continue offering an annual reconciliation session, which grew, year by year. A decade later, I'm delighted to have seen deeper, healthier relationships being built between indigenous and non-indigenous people. Musically, this hymn loosely imitates the style of the French Canadian Voyageurs, the folk melodies of the 18th and 19th centuries. The lyrics incorporate the Seven Grandfathers' Teachings. This core ethical framework has many different versions, but many First Nations communities have adopted these teachings in some form. (I've heard Elders say that Respect must come first, because it is the foundation that we build on, but for this particular group at Medicine Hat College, Humility was first on the list). I have Metis ancestry myself, and as an adult, I have researched the long-hidden genealogical and cultural treasures of my family tree. Whether you are an indigenous person looking to support other indigenous Christian composers, or whether you are a non-indigenous person who is trying to broaden the repertoire of your congregation, We Must Learn to Walk Together is an upbeat, hope-filled hymn that sings about reconciliation as if it is not only possible in the distant future - but also achievable today, using the concrete steps suggested by the lyrics. The indigenous wisdom of the Seven Grandfathers' Teachings lines up beautifully with the teachings of Christ. Musically, this hymn is highly accessible for congregational singing; the range is moderate and the rhythms provide musical interest without becoming overly complex; to hear the guitar version and melody line of the hymn being played and sung by the composer, please go to the following YouTube link: https://youtu.be/3DpkFCLxgEs. The musical format of the hymn alternates between the chorus and three verses. The piece takes roughly 3:30 to perform. This hymn has been transcribed in the key of C Major, so it is as easy as possible for church accompanists to play and for congregations to sing; guitarists are invited to play in the key of A Major and simply capo 3. Guitar chords are included. I hope and pray that this hymn for reconciliation will help you, your congregation, and the wider community to think about, pray for, and enact the calls to action of the Canadian Truth and Reconciliation Commission in new and deeper ways this year.
$3.99
3.69 €
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Piano, Voix et Guitare
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Lisa Waites
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Lisa Waites
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We Must Learn to Walk Together
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Servant Song Music and Ministry
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SheetMusicPlus
Irish National Anthem (Unofficial) for String Orchestra
Orchestre à Cordes
String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Ke…
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String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Keith Terrett. 20th Century, European, Patriotic. Score, Set of Parts. 10 pages. Published by Music for all Occasions
Londonderry Air arranged for String Orchestra.<br> <br> A big band version of the song is used as the theme for The Danny Thomas Show (a.k.a. Make Room For Daddy).<br> <br> "Danny Boy" was used to represent Northern Ireland at the start of the London 2012 Olympics opening ceremony, sung by a choir of children on the Giant’s Causeway.<br> <br> On November 25, 2014, the Vancouver Canucks used the song in honor of the recently deceased Pat Quinn, who played and worked in many executive capacities for the team.<br> <br> There are various theories as to the true meaning of "Danny Boy". Some listeners have interpreted the song to be a message from a parent to a son going off to war or leaving as part of the Irish diaspora.<br> <br> The 1918 version of the sheet music included alternative lyrics ("Eily Dear"), with the instructions that "when sung by a man, the words in italic should be used; the song then becomes "Eily Dear", so that "Danny Boy" is only to be sung by a lady". In spite of this, it is unclear whether this was Weatherly’s intent.<br> <br> Why the name Londonderry Air? Londonderry and Derry refer to the same place, a city in the north of Ireland, and also to the surrounding county. Supposedly the city of Derry was founded by St. Colmcille, although archaeological evidence shows that people were living there thousands of years earlier. There is an excellent museum in the city, which is worth a visit if you want to find out more. The name of the city was actually "Doire", corrupted to "Derry" by people who can’t pronounce Irish. It thought to derive from an Irish root meaning "oak tree".<br> <br> Moving quickly along in history, about a millenium later the government of England was having a difficult time colonizing Ireland because of the fierce and warlike clans living there, especially in the north of the country, Ulster. The monarchs of England, almost all of whom were notorious cheapskates, were continually looking about for ingenious ways to conquer places without actually having to put up the money themselves, or run the risk of unpopularity if they lost. In the case of Ireland, some of these schemes of the "Brish gummit" (as it is termed nowadays in Ulster) are still producing unfortunate long-term consequences.<br> <br> In 1608, King James I gave the city of Derry to the City of London corporation. I guess the deal could be summed up by saying that if the City of London could figure out a way to chase all the inhabitants out of Derry, they would be allowed to keep the loot, minus a percentage for the King of course. If they lost, well too bad. In celebration of this historic agreement, the name of Derry was officially changed to Londonderry. (For further information, check out the Northern Ireland Tourist Board’s History of Derry.)<br> <br> The linguistic outcome of all this today is that, if you think that King James’s deal with the City of London was a good idea, you call both the city and county "Londonderry". If you do, you are probably a supporter of the Unionist movement that seeks to keep Ulster a part of the United Kingdom. If you think it was a bad idea, you call both "Derry", and you are probably a supporter of the Irish Nationalist cause. Or you might just be someone who thinks it’s confusing for kings to be going around changing the names of places all the time for no good reason.<br> <br> You can find plenty of discussion about the political side of the question elsewhere, but here let’s look at the musical side. We have an air, collected in county Derry/Londonderry, and it doesn’t have a title. What do we call it?<br> <br> If you were a proper Victorian, there’s no way you were going to call it the Londonderry Air, much less the Derry Air, because of the improper sentiments that these titles might suggest. My parents tell me that in their youth in Australia, it was usually called the Air from County Derry. (This would, I suppose, support Winston Churchill’s theory that Australia was inhabited by "convicts and Irishmen".)<br> <br> My mother also sends the following information, referring to an arrangement of the tune by the Australian composer Percy Grainger:<br> <br> Just another note about Danny Boy, that I grew up in Australia believing to be the Air from County Derry. We were looking through some LP’s last night (back to vinyl yet!) and found a Mercury Wing Classical Favorites stereo LP SRW18060, COUNTRY GARDENS and other favorites by Percy Grainger {played by} Eastman-Rochester Pops, Frederick Fennell, conducting. The cover notes included the following: "Irish Tune from County Derry was harmonised in memory of Irish childhood friends in Australia." Considered by many to be Grainger’s masterpiece of harmonization, the tune was collected many years ago by Miss Jane Ross of New Town, Limavady, Ireland. Grainger has set it for many instrumental combinations. So there’s another variant on the name for it. It doesn’t say who wrote the notes, but the bits in quotes for each of the works on the record are Grainger’s original comments.<br> <br> The references to Londonderry Air that I’ve seen don’t go back any earlier than the late 1930s. For example, the Glenn Miller Orchestra recorded Danny Boy (Londonderry Air) in February 1940. Bing Crosby’s version was recorded in July 1941 (reference). (So many different things I could check up on!) Londonderry was an important American naval base during WWII, but the US hadn’t come into the war in 1940.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com<br> <br> Contact Publisher Related Scores
$8.99
8.31 €
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Orchestre à Cordes
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trad
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Keith Terrett
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Irish National Anthem
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Music for all Occasions
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SheetMusicPlus
The Christmas Wish (Vocal Solo)
Chorale Unison
Choral Choir (Unison) - Level 4 - Digital Download SKU: A0.727123 Composed by Carol…
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Choral Choir (Unison) - Level 4 - Digital Download SKU: A0.727123 Composed by Carol Troutman Wiggins [ASCAP], Mary White Pustrom. Christmas,Contemporary,Holiday,Pop,Singer/Songwriter. Octavo. 11 pages. Carol Troutman Wiggins #2907289. Published by Carol Troutman Wiggins (A0.727123). The Christmas WishVocal Solo for AltoWould you like a different kind of Christmas wish this year? Here it is!This song is based on the poem Christmas Wishes written by contemporary author and poet Mary White Pustrom. Mary wrote many poems with the theme of Christmas, including what she thought people should wish for at Christmas. While so many adults wish for a new car, a sparkling diamond ring, or celebrating with a nice vacation in the tropics, she believes that Christmas wishes should be taken a step further by considering the wishes and needs of others more so than our own. In her poem Christmas Wishes, her desire for reaching out to others and granting them their wishes for the simple things in life take on great meaning: Christmas Wishes by Mary White Pustrom Now that Christmas is drawing near I cannot help but seeAll the poor and needy people who are reaching out to me. It seems that everywhere I look there is a need to fill; I feel so inadequate when their wishes I can't fill. Among the lights and decorations, there is hunger and despair, Faces filled with sadness while bright carols fill the air; Little children who are cold and hungry wait for Santa Claus, Wishing that he would bring them food, for that's a worthy cause. Others laughing, smiling, singing - so completely unaware Of all the pain and suffering that's around them everywhere; They wish for generosity in our thoughts, time, and deeds, And wish that here at Christmas time, someone could fill their needs. My wish is that we reach out to our sisters and our brothers, Who depend on us for kindness from one to another; Fill our hearts with Christmas cheer, and teach us how to share, So that Christmas wishes will be fulfilled all throughout the year. It sounds like she might have the right idea. At this time of year, it is so easy to get caught up in buying and receiving presents, the lights, and the Christmas tree, without considering the simple needs of others. Maybe this year, these simple wishes will come true for some: · Sick little children to be healed · Homeless people and children to find a family · For the less fortunate to have enough food, clothing, shelter, and shoes on their feet · That no one spends Christmas lonely and alone, and spent the way it should be, with loving family and friends. Most of all, wish that by caring for one another, Christmas wishes would come true all year long. ~ Carol Troutman Wiggins
$5.95
5.5 €
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Chorale Unison
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Carol Troutman Wiggins [ASCAP], Mary White Pustrom
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The Christmas Wish
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Carol Troutman Wiggins
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SheetMusicPlus
Everything for the Church Soloist-Digital Download
Vocal, Solo Solo Voice - Digital Download SKU: H1.804DP Arranged by Don Doig, Jack …
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Vocal, Solo Solo Voice - Digital Download SKU: H1.804DP Arranged by Don Doig, Jack Schrader, and John F. Wilson. General Worship. Collection. 392 pages. Hope Publishing - Digital #804DP. Published by Hope Publishing - Digital (H1.804DP). By Various Writers.140 Christian songs by Various Writers Contains over 140 songs including: Because He Lives, Communion Song, Great Is Thy Faithfulness, the Holy City, I Wonder as I Wander, Learning to Lean, Malotte's Lord's Prayer, Wedding Song, and The Palms. Contains over 140 songs including: Because He Lives, Communion Song, Great Is Thy Faithfulness, the Holy City, I Wonder as I Wander, Learning to Lean, Malotte's Lord's Prayer, Wedding Song, and The Palms.
Song List: A Song About Me A Worthy Woman Above the Hills of Time All In The Name Of Jesus Alleluia (Schubert) Amazing Grace Because He Lives Because You Are God's Chosen Ones The Birthday of the King The Blood Will Never Lose Its Power The Body of Our Lord Born Again Bread Of The World In Mercy Broken Bridal Prayer Bring Back The Springtime Chosen of the Lord Christ Living Within You Clean Before My Lord Come, Praise the Lord! Communion Song Eternal Life Flee As A Bird For Those Tears I Died Gentle Like Jesus The Gift Of Love Give Me Jesus Give Them All To Jesus Grace Greater Than Our Sin Great Is Thy Faithfulness Have Thine Own Way, Lord! He Carried My Cross He Died for Me He Shall Feed His Flock He Turned The Water Into Wine He Was There All The Time He's a Wonderful Lord The Heavens Declare His Glory Help Us Accept Each Other Here's My Life Here's One His Eye Is On The Sparrow Ho! Everyone Who Is Thirsty The Holy City How Big Is God How Quiet Is the Night How Real! Hush Now I Am His And He Is Mine I Am the Vine I Am Willing, Lord I Heard About A Man I Just Came To Praise The Lord I Know Where I'm Going I Saw the Lord, and All Beside Was Darkness I Walked Today Where Jesus Walked I Want Jesus to Walk with Me I Wonder as I Wander I Wonder Why? If Jesus Had Not Come If My People Will Pray If with All Your Hearts If You Need a Helping Hand I'm Goin' Home In Jesus' Name In the Image of God Into My Heart It Was His Love It Won't Stop Ivory Palaces Jesus Is Lord Of All Jesus Revealed in Me Just A Closer Walk With Thee Just Because I Asked Lead Me To Calvary Learning to Learn Life Indeed Like A Child Little Baby Jesus Lonely Voices The Lord Is My Light Lord, Listen to Your Children Lord, Show the Way Lord, Take Control of Me The Lord's Prayer Love Came Down At Christmas Love Theme Love Was When Marvelous Mystery May the Mind of Christ Mirror More (Than You'll Ever Know) My Cup Overflows My Jesus, I Love Thee My Tribute The New 23rd New Wind Blowin' No One Ever Cared For Me Like Jesus No Power of My Own Nothing ... Everything O Father in Heaven O Glorious Love! O Holy Night O Lord Most Holy O Rest in the Lord O The Deep, Deep Love Of Jesus Of Love I Sing Oh, What Love! Open the Gates of the Temple The Palms Praise The Lord, He Never Changes Reach Out to Your Neighbor Ring The Bells Rise Again Savior, My Heart Is Thine Seek Ye First Shepherd Of Love Something Beautiful So Great Is His Mercy Spirit Of God Strength to My Soul Sweet Is the Name of Jesus Take God By the Hand Take My Life Ten Thousand Angels Thank You for These Gifts Thanks to God That Someday Is Now That's Why We Are Beautiful Then shall the righteous shine forth There's A Quiet Understanding They Led Him Away This Is My Commandment This Is The Time I Must Sing The Touch Of The Master's Hand The Twenty-Third Psalm (Malotte) Until Then Wedding Song Welcome Home, Children What God Hath Promised What Grace Is This! What Have They Done? Whither Thou Goest Who Are You to Disagree? Who Is This Boy? Who Shall Separate Us? Who Will Go? Worthy Is The Lamb Yes, God Is Real You're Something Special
$79.95
73.91 €
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Various Writers
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Everything for the Church Soloist-Digital Download
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Hope Publishing - Digital
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SheetMusicPlus
Joy to the World with the Hallelujah Chorus
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.818229 By Stephen R Dalrymple. By I…
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Piano Solo - Level 4 - Digital Download SKU: A0.818229 By Stephen R Dalrymple. By Isaac Watts and Lowell Mason (from George Frederick Handel). Arranged by Stephen R Dalrymple (Dalrymple Designs). Christmas. Score. 14 pages. Stephen R Dalrymple #3087649. Published by Stephen R Dalrymple (A0.818229). Joy to the World with The Hallelujah Chorus ♫ piano solo arrangement by Stephen R Dalrymple ♫ based on the public domain hymn by Isaac Watts and Lowell Mason (from George Frederick Handel) ♫ Isaac Watts published the lyrics in 1719. We credit Isaac Watts for helping to popularize “hymns†over “Psalms†in Protestant churches in the 18th Century. The texts of “Psalms†came directly from the Bible; “hymns†were more interpretive and reflective. Whether to allow the use of hymns rather than Psalms in church was a controversial topic of the 17th and 18th centuries! ♫ Watts used Psalm 96 and 98 with Genesis 3 to create the lyrics of Joy to the World. For over a hundred years, the lyrics were sung to various Psalm tunes. ♫ Lowell Mason published our current version with the melody ANTIOCH in 1848. He attributed the melody to George Frederick Handel by Lowell. We can find several fragments of this melody in Handel’s music, there is no complete statement of the melody in Handel. And so ANTIOCH is now attributed to Mason. ♫ The Hallelujah Chorus serves as the introduction and the conclusion of this arrangement. It was first published within Messiah, an oratorio by George Frederick Handel in 1741. The lyrics were created by Charles Jennens from the King James Bible. ♫ “The Lord is come†is the present perfect tense. It seems archaic, yet the present perfect tense has a distinct meaning. It points to a current action that is sustained. It isn’t just that Christ came in the past. But that Christ came and is still here with us. ♫ music © 2017 (copyright registered in 'I See your Glory’ collection) ♫ recording ℗ 2020 Stephen R Dalrymple ♫ presentation © 2022 Stephen R Dalrymple ♫ performed by the composer ♫ This .pdf file includes 2 files: 1) Letter size piano score 2) Small page piano score for performing from a 10 inch tablet ♫ (Tell your computer which pages you want to print. There are programs online that will allow you to split pdf files so that you can choose the correct part of the pdf for your tablet.)♫ A duplicate YouTube video in English is available under the title Joie dans le monde https://youtu.be/QrcR5GaKzW4♫ @DalrympleDesigns.
$4.50
4.16 €
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Piano seul
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Stephen R Dalrymple
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Joy to the World with the Hallelujah Chorus
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Stephen R Dalrymple
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SheetMusicPlus
The More I See You
Piano Facile
Easy Piano - Level 2 - Digital Download SKU: A0.691645 Composed by Harry Warren. Ar…
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Easy Piano - Level 2 - Digital Download SKU: A0.691645 Composed by Harry Warren. Arranged by Mark Phillips. Jazz,Pop,Standards. Score. 3 pages. A. J. Cornell Publications #4829549. Published by A. J. Cornell Publications (A0.691645). The More I See You for Easy Piano.
$4.99
4.61 €
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Piano Facile
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Harry Warren
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Mark Phillips
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The More I See You
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A. J. Cornell Publications
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SheetMusicPlus
Beyond The Sea
Chorale SATB
Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1308788 Comp…
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Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1308788 Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. 11 pages. Tobi Crawford #898034. Published by Tobi Crawford (A0.1308788). *Purchase 10 copies to perform this piece with your ensemble of any size*Purchase the instrumental pack (bass and drum part) here: https://www.sheetmusicplus.com/en/product/beyond-the-sea-instrumental-pack-only-22605052.htmlThis arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll. One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea†over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them. Somewhere beyond the seaShe’s there watching for me…It’s far beyond the starsIt’s near beyond the moon And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,†and the song ends with: “and never again I’ll go sailing.†It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan. Performance Suggestions: The improvisation solo in the middle should be free of any traditional “scat syllables†and should be more of a lament. Listen to singers like Aubrey Johnson improvise on ballads for inspiration. An idea for that improv section might be to have a male singer start the improv, then a female singer joins (as if together in heaven) then they sing letter F together (warning: will cause tears…). All solo sections do not have to be sung as written – soloists can take liberties with the melody as the spirit moves.
$10.00
9.24 €
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Chorale SATB
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Charles Tenet
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Tobi Crawford
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Beyond The Sea
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Tobi Crawford
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SheetMusicPlus
De facto Anthems of the Confederate States of America
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.746742
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.746742 Composed by Charles W.A Ellerbrook, Daniel Adams Butterfield, Daniel Decatur Dan Emmett ( 1815 – 1904), and Valentine Vousden. Arranged by Keith Terrett. Contemporary,Multicultural,Patriotic,Traditional,World. 39 pages. Keith Terrett #2941995. Published by Keith Terrett (A0.746742). De facto Anthems of the Confederate States of America ''I Wish I Was in Dixie & Taps''- ''God Save the South No. 1'' - The Bonnie Blue Flag, ''God Save the South No. 2'', arranged for Brass Quintet & Percussion.The Confederate States of America (also referred to as The Confederacy or simply The South) had, like the United States at the time, several patriotic songs in use which could have been considered anthems, like Dixie, The Bonnie Blue Flag, and God Save the South, none of which were officially declared (possibly because declaring an official anthem wasn’t as important to a new nation then as it is now). God Save the South does have more of an anthemaic quality in the music and lyrics, and several publications of the song refer to it as a (or the) anthem, and was also the first song to be published in the Confederacy (which was subsequently published in at least nine editions).God Save the South was written by George H. Miles under the pseudonym Earnest Halphin, soon after the war started. Miles was a Marylander, a state that did not officially secede and join the confederacy, but, being a border state, had several citizens with sympathies for the south. An interesting thing to note about the song is the reference to George Washington (the first president of the United States) in the song’s fifth verse. Apparently, the author of the song meant to tie in Washington’s stance as a rebel against the British in the American revolution with the South’s rebellion against the northern United States in the civil war.The music was written by C. W. A. Ellerbock, but another tune by C. T. De Cœniél was also popular at the time as well. (Ellerbock’s version, however, seems to be the original.)For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores:http://www.scoreexchange.com/profiles/keith_terrethttp://musicforalloccasions.org.ukhttp://www.sheetmusicplus.com/search?Ntt=keith+terrettNeed an anthem fast? They are ALL in my store!All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.comIf you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett.
$19.99
18.48 €
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Charles W
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Keith Terrett
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De facto Anthems of the Confederate States of America
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Keith Terrett
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SheetMusicPlus
I Can See (Andorra, the Witch of Andor, King Saul & Samuel) from "The Kings"
Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.784838 Composed by McCor…
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Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.784838 Composed by McCorkle, Dennis F. Broadway,Christian,Jewish,Musical/Show,Rock. 28 pages. DF McCorkle Music and eBook Publications #11767. Published by DF McCorkle Music and eBook Publications (A0.784838). CUT FROM SHOW: I Can See. 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 28:7-18 - Then said Saul unto his servants, Seek me a woman that hath a familiar spirit, that I may go to her, and inquire of her. And his servants said to him, Behold, there is a woman that hath a familiar spirit at Endor. And Saul disguised himself, and put on other raiment, and he went, and two men with him, and they came to the woman by night: and he said, I pray thee, divine unto me by the familiar spirit, and bring me him up, whom I shall name unto thee. And the woman said unto him, Behold, thou knowest what Saul hath done, how he hath cut off those that have familiar spirits, and the wizards, out of the land: wherefore then layest thou a snare for my life, to cause me to die? And Saul sware to her by Yahweh, saying, As Yahweh liveth, there shall no punishment happen to thee for this thing. Then said the woman, Whom shall I bring up unto thee? And he said, Bring me up Samuel. And when the woman saw Samuel, she cried with a loud voice: and the woman spake to Saul, saying, Why hast thou deceived me? for thou art Saul. And the king said unto her, Be not afraid: for what sawest thou? And the woman said unto Saul, I saw gods ascending out of the earth. And he said unto her, What form is he of? And she said, An old man cometh up; and he is covered with a mantle. And Saul perceived that it was Samuel, and he stooped with his face to the ground, and bowed himself. And Samuel said to Saul, Why hast thou disquieted me, to bring me up? And Saul answered, I am sore distressed; for the Philistines make war against me, and God is departed from me, and answereth me no more, neither by prophets, nor by dreams: therefore I have called thee, that thou mayest make known unto me what I shall do. Then said Samuel, Wherefore then dost thou ask of me, seeing Yahweh is departed from thee, and is become thine enemy? And Yahweh hath done to him, as he spake by me: for Yahweh hath rent the kingdom out of thine hand, and given it to thy neighbor, even to David: Because thou obeyedst not the voice of Yahweh, nor executedst his fierce wrath upon Amalek, therefore hath Yahweh done this thing unto thee this day. Also included with your order is our new 20 page catalog of over 150 titles at no additional charge.
$2.99
2.76 €
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McCorkle, Dennis F
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I Can See
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DF McCorkle Music and eBook Publications
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SheetMusicPlus
The Unquiet Grave from American Death Ballads (Downloadable)
Voix haute
High voice and piano - Moderately Difficult - Digital Download SKU: MQ.8454-2E Comp…
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High voice and piano - Moderately Difficult - Digital Download 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
3.24 €
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Voix haute
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David Conte
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The Unquiet Grave from American Death Ballads
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Brothers
Chorale SATB
Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1172921 Composed by…
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Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1172921 Composed by Carl M. Steubing. 20th Century,A Cappella,Contemporary,Multicultural,World. 2 pages. Carl M. Steubing Memorial Music Fund, Inc. #773130. Published by Carl M. Steubing Memorial Music Fund, Inc. (A0.1172921). “I hope that he can see in me, his brotherâ€. “Brothers†is an original musical work. The music is composed by Carl M. Steubing and the words are from a poem written by Carl’s good friend Miles J. Martin.  The opening lyrics, “Who is that manâ€, refers to an older Asian gentleman Miles encountered during vacation in the Far East. They were strangers that could not communicate, but when their eyes met they smiled at each other, and Miles recognized the man as his brother.  Shortly thereafter Miles sat down and wrote the poem called “Brothersâ€. Carl M. Steubing wrote the music, and it was published in 1967. This song was very relevant back in 1967 but has even more significance today. Brothers (and sisters) around the world are looking to belong in our chaotic world. They are searching for more connections, more empathy, and more love for each other.  No matter where you are from, the color of your skin, the faith you follow, or the person you choose to love, may we all find a way to look into each other’s eyes, smile and see in each other our brother or sister.
$2.25
2.08 €
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Chorale SATB
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Carl M
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Brothers
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Carl M. Steubing Memorial Music Fund, Inc.
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SheetMusicPlus
The Bare Necessities
Piano seul
Piano Solo - Level 2 - Digital Download SKU: A0.1277927 Composed by Terry Gilkyson.…
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Piano Solo - Level 2 - Digital Download SKU: A0.1277927 Composed by Terry Gilkyson. Arranged by Thomas Gunther. Comedy,Film/TV,Jazz. Score. 2 pages. Thomas Gunther Music Productions #869433. Published by Thomas Gunther Music Productions (A0.1277927). About the arrangement(See also (PopJazzKeys.com/The-Bare-Necessities)This is a relatively easy to play solo piano jazz arrangement of THE BAR NECESSITIES. The song is a traditional jazz tune made famous in the Walt Disney movie THE JUNGLE BOOK. The video and audio recording I posted here features me playing the short version of my arrangement. When played as written (with all the repeats) it is almost 4 minutes long.What's cool about this arrangement is that you can easily add a bass player and even an entire rhythm section while playing it the same way as you would in a solo performance!Who this arrangement is best suited forI think everyone who likes the song except perhaps advanced jazz pianists will have fun learning and playing this arrangement. I arranged this piece originally with my younger piano students in mind, who have smaller hands than most adults. That’s why there are no large intervals or big jumps in the left hand. Something generally found in ragtime and early jazz piano styles. This means that my arrangement is perfectly suited for pianists with smaller hands. Of course pianists with large hands (like myself) can play it too (ha-ha!).I think it is also a great piece for pianists who want to familiarize themselves with playing jazz piano. And since I wrote out every note and articulation, they can play along with the recording and hopefully pick up the traditional jazz feel along the way.Although the arrangement is not very difficult, it poses several challenges for the inexperienced pianist, as explained later.How I arranged itAs I already explained above, there are no large intervals or big jumps in the left hand to be found. Instead, I focused more on polyphonic arranging techniques, in both hands. I also used guide tones and inversions.The left hand imitates the accompaniment style of a traditional jazz guitar or banjo player with added half time bass figures that are typically played by a tuba or upright bass an octave lower. Tips for how to learn this arrangementWhen I teach this song to my students I strongly recommend to them to listen to the original version and my recording a lot, rather than explaining to them how swinging eighth notes and jazz articulation work. By the way, there are a few bars where you hear me playing straight eighths on the recording (as indicated in the sheet music). I decided to add articulations so that pianists who have not a lot of experience with playing jazz will find it easier to play it with the appropriate “touchâ€. It's a good idea to check those out.Should you not be familiar with playing polyphonic passages with one hand, you might want to practice very slowly at first and attempt to balance the different voices appropriately. Listening to the recording will also help with discovering dynamic possibilities. I didn’t want to clutter up the sheet music with dynamic markings, so listening to the recording is really the only way to figure out what dynamics I had in mind.
$4.99
4.61 €
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Piano seul
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the way, there are a few bars where you hear me playing straight eighths on the recording
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Terry Gilkyson
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Thomas Gunther
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The Bare Necessities
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Thomas Gunther Music Productions
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SheetMusicPlus
I Ain't Worried
Piano, Voix et Guitare
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1042119 By OneRepubli…
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1042119 By OneRepublic. By Bjorn Yttling, Brent Kutzle, John Eriksson, Peter Moren, Ryan Tedder, and Tyler Spry. Arranged by Barry McCormick. Film/TV,Pop. Score. 8 pages. B. McCormick #646917. Published by B. McCormick (A0.1042119). About this Piano/Vocal/Guitar arrangement of “I Ain’t Worried†This One Republic hit from the sound track of “Top Gun:Maverik†is a catchy tune to learn. This piano, guitar and vocal arrangement will help you learn the song “I Aint Worried.†The key is in F major and included is the lead sheet so this can be given to another instrumentalist or singer to perform along. The distinct features in the song, the bass and the hook I have kept close to the recording on the track. I have done some slight adjustments for the piano accompaniment to break up and differentiate the different sections otherwise it would be very repetitive. It is a very simple song in essence, a four chord riff and rhythmic motif that breaks for the bridge section. The rhythm isn’t the simplest for the bass part that permeates the song however it is repetitive which means once that is learned you have practically mastered the whole song. There is a lot of back and forward in the music to the chorus which jumps to different parts. I have tried to simplify this by using boxed text to identify each section clearly and indicate when you should jump to each section. Using first, second and third time bars with D.S and coda markings cluttered the music up and made it seem more complicated. So I hope this editorial decision to use boxed text makes it clearer. If you like this arrangement a also have some other arrangements of Christian worship songs and Hymns from Lead sheets to classical guitar arrangements you may also like to check out. About the Arranger, Barry McCormick I am Barry McCormick, I have an MA in music from the University of Glasgow. I am a musician, composer and arranger from Scotland. I have over 20 years experience in teaching music at a classroom and private tuition level and have taught students from early years to more mature in years. I was involved in a group using music as a means to aid mental health teaching guitar for those purposes. I now mainly focus on composing and arranging and trying to provide resources through various means for students and music educators. You can find me online You can keep up to date with me through my website and social media: Connect on inaminim.com. This is my new website where I am posting my new arrangements and compositions as well as trying to help build and collate resources that will be useful for those learning and teaching music. Connect on YouTube This is the place I will be uploading the videos of my arrangements where you can hear them alongside music educational content. Connect on Tik Tok This is a platform I am cautiously trying to utilise properly to promote my website. If you would like to follow me there please feel free. I will hopefully get over my apprehension and post more frequently soon!
$4.99
4.61 €
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Piano, Voix et Guitare
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OneRepublic
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Barry McCormick
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I Ain't Worried
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B. McCormick
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SheetMusicPlus
I See The Light
Orchestre à Cordes
String Orchestra - Level 3 - Digital Download SKU: A0.521913 Composed by Alan Menke…
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String Orchestra - Level 3 - Digital Download SKU: A0.521913 Composed by Alan Menken. Arranged by Sherry Lewis. Contemporary. Score and Parts. 13 pages. Sherry Lewis Publishing #6588353. Published by Sherry Lewis Publishing (A0.521913). I SEE THE LIGHT from Tangled String Orchestra, Intermediate Level for 2 violins, viola, cello and string bass chords such as C, Em, etc. Score: Yes Parts: 5 pages Time: 3'30 MY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts however I also offer individual versions for one, two and three parts that are more detailed for these ensembles. Please visit https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer. If you can’t find a title then contact me through www.baysbest.com/smp-arrangeme/ and I’ll give you the link back to Sheet Music Plus’s listing. VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument. PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music. LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work. EXCELLENT for corporate events, weddings, social gatherings and recitals. APPROPRIATE for students and schools. CHURCH REPERTOIRE I’m always adding more titles. Sherry Lewis is a professional arranger and musician residing in Northern California. Thank you for your purchase!
$12.99
12.01 €
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Orchestre à Cordes
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Alan Menken
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Sherry Lewis
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I See The Light
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Sherry Lewis Publishing
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SheetMusicPlus
Donut Etudes vol. 3: Don’t Step in the Holes! – String Orchestra
Orchestre à Cordes
String Orchestra - Level 3 - Digital Download SKU: A0.784349 Composed by Joshua Hau…
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String Orchestra - Level 3 - Digital Download SKU: A0.784349 Composed by Joshua Hauser. Instructional. Score and parts. 146 pages. Slide Ride #5288707. Published by Slide Ride (A0.784349). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!Combine these with the set for Band when used for Full or Chamber Orchestra.
$15.00
13.87 €
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Orchestre à Cordes
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Joshua Hauser
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Donut Etudes vol. 3: Don’t Step in the Holes! – String Orchestra
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Slide Ride
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SheetMusicPlus
Donut Etudes vol. 3: Don’t Step in the Holes! - Flute Quartet
Quatuor de Flûtes : 4 flûtes
Flute Solo - Level 3 - Digital Download SKU: A0.784325 Composed by Joshua Hauser. I…
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Flute Solo - Level 3 - Digital Download SKU: A0.784325 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288633. Published by Slide Ride (A0.784325). Donut Etudes vol. 3: Don’t Step in the Holes!1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$5.00
4.62 €
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Quatuor de Flûtes : 4 flûtes
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Joshua Hauser
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Donut Etudes vol. 3: Don’t Step in the Holes! - Flute Quartet
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Slide Ride
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SheetMusicPlus
Donut Etudes vol. 3: Don’t Step in the Holes! – English Horn Quartet
Cor Anglais
English Horn Solo - Level 3 - Digital Download SKU: A0.784328 Composed by Joshua Ha…
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English Horn Solo - Level 3 - Digital Download SKU: A0.784328 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288645. Published by Slide Ride (A0.784328). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$5.00
4.62 €
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Cor Anglais
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Joshua Hauser
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Donut Etudes vol. 3: Don’t Step in the Holes! – English Horn Quartet
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Slide Ride
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SheetMusicPlus
Donut Etudes vol. 3: Don’t Step in the Holes! – Viola Quartet
Alto seul
Viola Solo - Level 3 - Digital Download SKU: A0.784339 Composed by Joshua Hauser. I…
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Viola Solo - Level 3 - Digital Download SKU: A0.784339 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288683. Published by Slide Ride (A0.784339). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$5.00
4.62 €
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Alto seul
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Joshua Hauser
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Donut Etudes vol. 3: Don’t Step in the Holes! – Viola Quartet
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Slide Ride
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SheetMusicPlus
Donut Etudes vol. 3: Don’t Step in the Holes! – Bass Clarinet Quartet
Quatuor de Clarinettes: 4 clarinettes
Bass Clarinet Solo - Level 3 - Digital Download SKU: A0.784329 Composed by Joshua H…
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Bass Clarinet Solo - Level 3 - Digital Download SKU: A0.784329 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288649. Published by Slide Ride (A0.784329). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$5.00
4.62 €
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Quatuor de Clarinettes: 4 clarinettes
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Joshua Hauser
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Donut Etudes vol. 3: Don’t Step in the Holes! – Bass Clarinet Quartet
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Slide Ride
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SheetMusicPlus
Donut Etudes vol. 3: Don’t Step in the Holes! – Bassoon Quartet
Basson
Bassoon Solo - Level 3 - Digital Download SKU: A0.784331 Composed by Joshua Hauser.…
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Bassoon Solo - Level 3 - Digital Download SKU: A0.784331 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288651. Published by Slide Ride (A0.784331). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$5.00
4.62 €
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Basson
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Joshua Hauser
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#
Donut Etudes vol. 3: Don’t Step in the Holes! – Bassoon Quartet
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Slide Ride
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SheetMusicPlus
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