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They're After Me
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Crtitères actifs :
They're After Me
Partitions à imprimer
35 partitions trouvées
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26
They're After Me
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Piano, Voix
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Marcus Meyer
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They're After Me
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - SKU: LV.5810 Arranged by Marcus Meyer. Portraits, Gifts, Presidential elections, Taxes, Beer. Lester S. Levy Collection. 4 pages. Publ...
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Piano and voice - SKU: LV.5810 Arranged by Marcus Meyer. Portraits, Gifts, Presidential elections, Taxes, Beer. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.5810). Only Authorized Edition of the New Comic Song. They're After Me. Arranged by Marcus Meyer. Published 1890 by T.B. Harms & Co., 819 Broadway in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Portraits, Gifts, Presidential elections, Taxes, Beer. First line reads To be a man sought after ev'rywhere, is rather sweet.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
A Great Hit! They're After Me. Song
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Piano, Voix
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George Cooper
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A Great Hit! They're After Me.
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - SKU: LV.5811 Composed by George Cooper. Vanity, Zoos, Monkeys, Central Park, Presidents, Postmasters. Lester S. Levy Collection. 4 pag...
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Piano and voice - SKU: LV.5811 Composed by George Cooper. Vanity, Zoos, Monkeys, Central Park, Presidents, Postmasters. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.5811). A Great Hit! They're After Me. Song. by George Cooper. Published 1890 by Richard A. Saalfield, 41 Union Square, S.W. Cor. 37th Street in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Vanity, Zoos, Monkeys, Central Park, Presidents, Postmasters. First line reads I am a very useful man, as ev'rybody knows.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
Quando Me'n Vo for Flute & Piano
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Flûte traversière et Piano
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INTERMÉDIAIRE
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Keith Terrett
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Keith Terrett
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Quando Me'n Vo for Flute &
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Keith Terrett
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SheetMusicPlus
Flute,Piano - Level 3 - SKU: A0.1046388 By Keith Terrett. By Giacomo Puccini. Arranged by Keith Terrett. Classical,Opera,Romantic Period. Score and part...
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Flute,Piano - Level 3 - SKU: A0.1046388 By Keith Terrett. By Giacomo Puccini. Arranged by Keith Terrett. Classical,Opera,Romantic Period. Score and part. 6 pages. Keith Terrett #650903. Published by Keith Terrett (A0.1046388). An arrangement of one of Puccini’s greatest arias for Flute & Piano. Great piece to improve trumpeter’s player’s bell canto style of playing. Take a listen to Conrad Gozzo’s playing on the Tutti Trumpet CD for a fine example! Quando me'n vo', also known as Musetta's Waltz, is a soprano aria, a waltz in act two of Puccini's 1896 opera La bohème. It is sung by Musetta, in the presence of her bohemian friends, hoping to reclaim the attention of her occasional boyfriend Marcello. This scene takes place at the Café Momus [fr]. Shortly after Mimì, Rodolfo, and their friends have taken seats for a drink, Marcello's former girlfriend, Musetta, shows up with her current patron, the elderly Alcindoro. They quarrel for a bit, then the episode begins as Musetta initiates her move on Marcello. She grabs the spotlight, musically speaking, for a short self-promoting aria (Quando me'n vo'). It is a song directed at the people in the café as much as at the audience in the theater. Popular renditions of the melody were produced during the 1950s, including an American Top 40 hit by Sammy Kaye (You) and a version by Della Reese (Don't You Know?), which reached number two on the U.S. Billboard Hot 100. You will find more Italian arias and Neapolitan songs in my Sibelius & ArrangeMe stores.
$4.99
You Found Me
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Instruments en Do
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FACILE
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Rock
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The Fray
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Ben Clapton
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You Found Me
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Ben Clapton
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SheetMusicPlus
C Instrument - Level 2 - SKU: A0.842476 By The Fray. By Isaac Slade and Joseph King. Arranged by Ben Clapton. Rock. Lead Sheet / Fake Book. 3 pages. Ben...
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C Instrument - Level 2 - SKU: A0.842476 By The Fray. By Isaac Slade and Joseph King. Arranged by Ben Clapton. Rock. Lead Sheet / Fake Book. 3 pages. Ben Clapton #4597303. Published by Ben Clapton (A0.842476). You Found Me was released by American rock band The Fray in 2008. It was their third single to sell 2 million downloads in the US, and marked The Fray's first number one hit in Australia.This is a lead sheet for the song, which has the melody and lyrics, and guitar chords. The song is written in B, and it has capo chords at capo 4 to utilise open chords.From Wikipedia:In an interview, lead singer and pianist Isaac Slade expressed his meaning behind the lyrics of the song:'You Found Me' is such a great song you should really listen to it. I love it as if it were my own child. The heart ache, the let down that comes with life. Sometimes you're let down, sometimes you're the one who lets someone else down. It gets hard to know who you can trust, who you can count on. This song came out of a tough time, and I'm still right in the thick of it. There's some difficult circumstances my family and friends have been going through over the past year or so and it can be overwhelming. It wears on me. It demands so much of my faith to keep believing, keep hoping in the unseen. Sometimes the tunnel has a light at the end, but usually they just look black as night. This song is about that feeling, and the hope that I still have, buried deep in my chest.In another interview Isaac Slade declared that:I kept getting these phone calls from home – tragedy after tragedy... If there is some kind of Person in charge of this planet – are they sleeping? Smoking? Where are they? I just imagined running into God standing on a street corner like Bruce Springsteen, smoking a cigarette, and I'd have it out with Him.In a Reuters article about the album, Slade stated that the lyrics for You Found Me were written in 2007, and that the song asks about the problem of evil, why bad things happen to good people, after some of their friends and family went through very tough times.Many others say that the song represents the reason we cope with things and how abandonment plays a role in everyday life.
$4.99
Fragments des Fragments du Narcisse, after Paul Valéry, for alto and guitar (mp3)
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David Warin Solomons
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Fragments des Fragments du Nar
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David Warin Solomons
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SheetMusicPlus
Alto Voice,Guitar - Level 4 - SKU: A0.1402629 By David Warin Solomons. By David Warin Solomons. Classical,Contemporary,Singer/Songwriter. Full Performan...
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Alto Voice,Guitar - Level 4 - SKU: A0.1402629 By David Warin Solomons. By David Warin Solomons. Classical,Contemporary,Singer/Songwriter. Full Performance. Duration 300. David Warin Solomons #985853. Published by David Warin Solomons (A0.1402629). This song is based on parts of the poem by Paul Valéry Fragments du Narcisse which explains and ponders the idea of the origin of narcissism (self-love)The words are as followsMais moi, Narcisse aimé, je ne suis curieuxQue de ma seule essence ;Tout autre n’a pour moi qu’un cœur mystérieux,Tout autre n’est qu’absence.Ô mon bien souverain, cher corps, je n’ai que toi !Le plus beau des mortels ne peut chérir que soi... Douce et dorée, est-il une idole plus sainte,De toute une forêt qui se consume, ceinte,Et sise dans l’azur vivant par tant d’oiseaux ?Est-il don plus divin de la faveur des eaux,Et d’un jour qui se meurt plus adorable usageQue de rendre à mes yeux l’honneur de mon visage ?Quitte enfin le silence, ose enfin me répondre,Bel et cruel Narcisse, inaccessible enfant,Tout orné de mes biens que la nymphe défend...Formons, toi sur ma lèvre, et moi, dans mon silence,Une prière aux dieux qu’émus de tant d’amourSur sa pente de pourpre ils arrêtent le jour !...Dieux ! de l’auguste jour, le pâle et tendre resteVa des jours consumés joindre le sort funeste ;Il s’abîme aux enfers du profond souvenir !Hélas ! corps misérable, il est temps de s’unir...Penche-toi... Baise-toi. Tremble de tout ton être !L’insaisissable amour que tu me vins promettrePasse, et dans un frisson, brise Narcisse, et fuit..English translation by D W SolomonsBut I, beloved Narcissus, am curious onlyabout my very beingeverything else has nothing more than a heart of mysteryeverything else is nothing but absenceOnly what I own, my dear sovereign body, is what I haveThe most beautiful of mortals cannot cherish anything more than itselfSweet and golden, is there a more holy idolwithin an entire forest, self-consumed and heldand set in the living azure by so many birds?Is there a more divine gift than the favour of the watersand a more adorable use of the dying daythan to return to me the honour of my face?Please don't be silent, please dare to replyBeautiful and cruel Narcissus, unreachable child owning what I hold dear but guarded by the nymphLet the two of us, you on my lips and I in my silencemake a prayer to the gods that they should be moved by so much lovethat they would keep the day held in its purple sunsetGods! only the pale and tender parts remain of the august day,It joins the fate of other days that were consumedIt goes down into the hell of deep memoryAlas, miserable body, it is time to become as oneBend down - kiss yourself - tremble with all your beingThe intangible love that you promisedhas gone by, and in a shiver, shatters Narcissus and flees.
$5.50
Fragments des Fragments du Narcisse, after Paul Valéry, for alto and guitar
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Piano, Voix et Guitare
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INTERMÉDIAIRE/AVANCÉ
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David Warin Solomons
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Fragments des Fragments du Nar
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David Warin Solomons
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1402627 By David Warin Solomons. By David Warin Solomons. Classical,Contemporary,Singer/Songwriter. Score. ...
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Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1402627 By David Warin Solomons. By David Warin Solomons. Classical,Contemporary,Singer/Songwriter. Score. 10 pages. David Warin Solomons #985851. Published by David Warin Solomons (A0.1402627). This song is based on parts of the poem by Paul Valéry Fragments du Narcisse which explains and ponders the idea of the origin of narcissism (self-love)The words are as followsMais moi, Narcisse aimé, je ne suis curieuxQue de ma seule essence ;Tout autre n’a pour moi qu’un cœur mystérieux,Tout autre n’est qu’absence.Ô mon bien souverain, cher corps, je n’ai que toi !Le plus beau des mortels ne peut chérir que soi... Douce et dorée, est-il une idole plus sainte,De toute une forêt qui se consume, ceinte,Et sise dans l’azur vivant par tant d’oiseaux ?Est-il don plus divin de la faveur des eaux,Et d’un jour qui se meurt plus adorable usageQue de rendre à mes yeux l’honneur de mon visage ?Quitte enfin le silence, ose enfin me répondre,Bel et cruel Narcisse, inaccessible enfant,Tout orné de mes biens que la nymphe défend...Formons, toi sur ma lèvre, et moi, dans mon silence,Une prière aux dieux qu’émus de tant d’amourSur sa pente de pourpre ils arrêtent le jour !...Dieux ! de l’auguste jour, le pâle et tendre resteVa des jours consumés joindre le sort funeste ;Il s’abîme aux enfers du profond souvenir !Hélas ! corps misérable, il est temps de s’unir...Penche-toi... Baise-toi. Tremble de tout ton être !L’insaisissable amour que tu me vins promettrePasse, et dans un frisson, brise Narcisse, et fuit..English translation by D W SolomonsBut I, beloved Narcissus, am curious onlyabout my very beingeverything else has nothing more than a heart of mysteryeverything else is nothing but absenceOnly what I own, my dear sovereign body, is what I haveThe most beautiful of mortals cannot cherish anything more than itselfSweet and golden, is there a more holy idolwithin an entire forest, self-consumed and heldand set in the living azure by so many birds?Is there a more divine gift than the favour of the watersand a more adorable use of the dying daythan to return to me the honour of my face?Please don't be silent, please dare to replyBeautiful and cruel Narcissus, unreachable child owning what I hold dear but guarded by the nymphLet the two of us, you on my lips and I in my silencemake a prayer to the gods that they should be moved by so much lovethat they would keep the day held in its purple sunsetGods! only the pale and tender parts remain of the august day,It joins the fate of other days that were consumedIt goes down into the hell of deep memoryAlas, miserable body, it is time to become as oneBend down - kiss yourself - tremble with all your beingThe intangible love that you promisedhas gone by, and in a shiver, shatters Narcissus and flees.
$11.00
Hold Me Love Me (From the musical 'Berlin')
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Piano, Voix et Guitare
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FACILE
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Comédie Musicale
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Tim J Spencer
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Hold Me Love Me
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Tim J Spencer/Green Panda Music
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 2 - SKU: A0.866354 Composed by Tim J Spencer. Broadway,Musical/Show,Pop. Score. 6 pages. Tim J Spencer/Green Panda Musi...
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Guitar,Piano,Vocal,Voice - Level 2 - SKU: A0.866354 Composed by Tim J Spencer. Broadway,Musical/Show,Pop. Score. 6 pages. Tim J Spencer/Green Panda Music #54763. Published by Tim J Spencer/Green Panda Music (A0.866354). 'Hold Me Love Me' is a trio for female and two male voices. It is a song sung at the end of the musical 'Berlin' by UK Songwriter Tim J Spencer. Within the show Elin and Gustav meet for the first time in 26 years after being separated by the Berlin Wall. They are also re-united with their son, Joshua, who is meeting his father for the first time. It is a love ballad for three. The MP3 is a demo by the composer. The song is taken from the Tim Spencer Songbook, a series of audition pieces for musical theatre performers. Green Panda Music | www.greenpandatheatre.co.uk | music@greenpandamusic.com.
$5.99
Good Advice
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Piano, Voix
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INTERMÉDIAIRE
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Country
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Cheryl Prazak
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Jon Burr
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Good Advice
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Cheryl Prazak
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1327438 By Cheryl Prazak. By Music by Jon Burr, Lyrics by Cheryl Prazak. Arranged by Jon Burr. Country. Score. 15 ...
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Piano,Vocal,Voice - Level 3 - SKU: A0.1327438 By Cheryl Prazak. By Music by Jon Burr, Lyrics by Cheryl Prazak. Arranged by Jon Burr. Country. Score. 15 pages. Cheryl Prazak #915482. Published by Cheryl Prazak (A0.1327438). Part of Cheryl Prazak's Military Trilogy, this is a story of parental advice to a grown child who's become down on their luck.This is a piano/vocal arrangment. Music, arranging and production by Jon Burr The Lyric:Everything was fine, not so very long ago.I had a weekly paycheck, I was rolling in the dough.I had a truck, got me where I needed to go.I didn’t know how much I had, ‘til things began to blow.Everything was fine, then my tire picked up a tack.The rubber was so thin, you see, it really set me back.“What’s the problem now?†was all my boss would say,Gave me my last paycheck, and sent me on my way…So, here I am remembering, not so long ago,I had a weekly paycheck, I was rolling in the dough.I had my pick-up truck back then, had a shirt. and had a wife.I didn’t know how little I had because, well, that was life.Sleeping in my pick-up truck, the light began to dawn.I would go back home, before my last chance was blown.I would tell my loving folks, at last I saw the light, My prospects didn’t look so good, my future, none too bright.Could they start me off again, with tuition and the such, andhelp me get a-brand new tire, for my raggedy ol’ truck?If they could be so kind, as to set me on my way, I would do my very best, their kindness to repayConsider the military, said my folks, sounding wisethey told me I need extra time, didn’t mean to criticizeMaybe they were onto something, maybe that could helpWhy, oh, why didn’t I think of that myself?Military life’s not easy, as I learned from the start, but I came out much the better, and learned to have some heart.Well, I’m that better man now, after going through all this.Finally got my life in shape, it had been so amiss.I repaid my folks’ advice, as I promised that I would,Became the son they hoped for, the man they knew I could.We often go to see them, and they visit the wife and me,Now they’re contented grandfolks, with babies on each knee!Once upon a time, when I was really stuck, I went back home to see the folks, which became a day of luck.Military service, I’m glad I took it up.Life changed for me, when I stopped sleeping in that ol’ truck.
$4.99
Vincent (Starry Starry Night)
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Don McLean
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Timothy Stapay
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Vincent
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Timothy Stapay
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1490922 By Don McLean. By Don McLean. Arranged by Timothy Stapay. Broadway,Film/TV,Folk,Musical/Show,Rock,Singer/Songwrit...
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Piano Solo - Level 4 - SKU: A0.1490922 By Don McLean. By Don McLean. Arranged by Timothy Stapay. Broadway,Film/TV,Folk,Musical/Show,Rock,Singer/Songwriter. Score. 10 pages. Timothy Stapay #1067707. Published by Timothy Stapay (A0.1490922). Vincent (Starry, Starry Night) is a song by Don McLean, written as a tribute to Vincent van Gogh.McLean wrote the lyrics in 1971 after reading a book about the life of Van Gogh. It was released on McLean's 1971 American Pie album; the following year, the song topped the UK Singles Chart for two weeks, and peaked at No. 12 in the United States, where it also hit No. 2 on the Easy Listening chart. Billboard ranked it as the No. 94 song for 1972.Lyrics:StarryStarry nightPaint your palette blue and greyLook out on a summer's dayWith eyes that know theDarkness in my soul.Shadows on the hillsSketch the trees and the daffodilsCatch the breeze and the winter chillsIn colors on the snowy linen land.And now I understand what you tried to say to meHow you suffered for your sanityHow you tried to set them free.They would not listenThey did not know howPerhaps they'll listen now.StarryStarry nightFlaming flo'rs that brightly blazeSwirling clouds in violet haze reflect inVincent's eyes of China blue.Colors changing hueMorning fields of amber grainWeathered faces lined in painAre soothed beneath the artist'sLoving hand.And now I understand what you tried to say to meHow you suffered for your sanityHow you tried to set them free.Perhaps they'll listen now.For they could not love youBut still your love was trueAnd when no hope was left in sight on that starryStarry night.You took your lifeAs lovers often do;But I could have told youVincentThis world was neverMeant for oneAs beautiful as you.StarryStarry nightPortraits hung in empty hallsFrameless heads on nameless wallsWith eyesThat watch the world and can't forget.Like the stranger that you've metThe ragged men in ragged clothesThe silver thorn of bloody roseLie crushed and brokenOn the virgin snow.And now I think I know what you tried to say to meHow you suffered for your sanityHow you tried to set them free.They would not listenThey're notList'ning stillPerhaps they never will.
$8.99
He Said She Said
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Chorale SATB
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FACILE
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Iain Cook, Lauren Mayberry, an
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Andrew Montano
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He Said She Said
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Andrew Montano
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus divisi - Level 2 - SKU: A0.1503412 Composed by Iain Cook, Lauren Mayberry, and Martin Doherty. Arranged by Andrew Montan...
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Choral Choir,Choral,SATB Chorus divisi - Level 2 - SKU: A0.1503412 Composed by Iain Cook, Lauren Mayberry, and Martin Doherty. Arranged by Andrew Montano. A Cappella,Pop. 15 pages. Andrew Montano #1078860. Published by Andrew Montano (A0.1503412). He Said She Said was the first song CHVRCHES composed for their fourth album after the COVID-19 pandemic. The meaning behind the track focuses on the pressures of being true to oneself and living up to expectations, especially in the ongoing age of social media.The verses describe a hypocrisy and controlling, manipulative struggle with the singer's physicality and mental state. The quotes tell her to act a certain way or mold into a specific shape, but also mention to not go too far in either category. Not having a clear direction and attempting to please others makes the singer feel like they're losing their mind.Lauren Mayberry, the lead vocalist, said The barebones of thesong were there in about an hour and the opening line of thesong was the first lyric that came out.The song released with a music video following Mayberry trapped inside a transparent revolving door with no way ofescaping. She's seen bashing against the glass attempting to break out with shots of her spinning around.Martin Doherty, the synthesist and producer of the band, said The chords felt like they had this eternal tension in them—they never actually release, even though they get really big. Itfeels to me like a panic attack.The lyrics enhance this tense suffocation with Mayberry's build up in the pre chorus followed by her highest range in the chorus. She switches between a false voice/autotune into her natural voice after breaking free from the silence. Almost as if her falsified persona is begging for release but no one responds to her cry for help.
$4.99
Prelude Impressions (for solo piano)
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Piano seul
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AVANCÉ
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Contemporain
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Paul SanGregory
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Prelude Impressions
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Distant Engraver Music
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.977031 Composed by Paul SanGregory. Contemporary. Score. 20 pages. Distant Engraver Music #3534597. Published by Distant ...
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Piano Solo - Level 5 - SKU: A0.977031 Composed by Paul SanGregory. Contemporary. Score. 20 pages. Distant Engraver Music #3534597. Published by Distant Engraver Music (A0.977031). This set of three pieces is well-suited for advanced students or professional performers who enjoy creating and shaping mood, atmosphere and color on the piano. They were composed to commemorate the 150th anniversary of Claude Debussy’s birth. For that reason, they are based on various composing techniques and aesthetic ideas that he developed. Even so, there was no attempt to make them actually sound like Debussy’s music. In fact, while composing them I often felt like I was looking at Debussy’s techniques through the distorting lenses of music that came after him, but that he had influenced.I - Drifting Through ChangeOne sort of change in this piece comes from the interaction of two repeated rhythmic patterns of different lengths. Episodes of contrasting character then drift in and out of the piece creating more changes. The effect is as if one is floating quietly through empty space, but occasionally drifting past various objects or situations.II - Building CloudsTo me, the opening of this movement sounds like an idea from Debussy’s Nuages that has been turned inside out. Unlike Debussy’s more delicate clouds, however, the clouds of this piece grow turbulent and dramatic. III - Moonless HeathFor this movement, I imagine walking through an open untamed field on a dark moonless night and not being sure what I might be passing by. In terms of color and technique, this piece shows a more obvious relationship to Debussy’s music that the first two. It begins with a simple melody similar to that of his Bruyére, after which a Debussy-inspired ostinato gently moves the music forward. Structurally, the whole piece is an inverted palindrome so that a melody from the beginning returns in retrograde-inversion at the end, becoming a brief quote of Debussy’s music. Performance duration ca. 11 minutes.
$8.00
Let It Be
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Noël
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The Beatles
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Jeremy Nafziger
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Let It Be
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Jeremy Nafziger
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SheetMusicPlus
Choral Alto Voice,Bass Voice,Double Bass,Piano and Keyboard,Soprano voice,Tenor Voice,Viola,Violin - Level 3 - Interactive Download SKU: A0.481914 By The...
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Choral Alto Voice,Bass Voice,Double Bass,Piano and Keyboard,Soprano voice,Tenor Voice,Viola,Violin - Level 3 - Interactive Download SKU: A0.481914 By The Beatles. By John Lennon and Paul McCartney. Arranged by Jeremy Nafziger. This edition: Interactive Download. Christmas. Octavo. Duration 286. Jeremy Nafziger #6Re335EyhndYxZ7ALSuj10. Published by Jeremy Nafziger (A0.481914). Key: C major.The Beatles classic with the Advent hymn, In Dulci Jubilo. Both texts come from dreams, and this winds up a meaningful combination. In Dulci was written in the 14th century by German monk and teacher Heinrich Suso (or Seuse), who writes in his third-person autobiography about a dream he had: Now this same angel came up to the Servant [Suso] brightly, and said that God had sent him down to him, to bring him heavenly joys amid his sufferings; adding that he must cast off all his sorrows from his mind and bear them company, and that he must also dance with them in heavenly fashion. Then they drew the Servant by the hand into the dance, and the youth began a joyous song about the infant Jesus, which runs thus: In dulci jubilo... About 650 years later, in 1968, Paul McCartney was staying out late, drinking too much, and thinking that the Beatles were probably going to break up soon. Then one night, somewhere between deep sleep and insomnia, I had the most comforting dream about my mother, who died when I was only 14. She had been a nurse, my mum, and very hardworking, because she wanted the best for us.... At night when she came home, she would cook, so we didn’t have a lot of time with each other. But she was just a very comforting presence in my life. And when she died, one of the difficulties I had, as the years went by, was that I couldn’t recall her face so easily.... So in this dream twelve years later, my mother appeared, and there was her face, completely clear, particularly her eyes, and she said to me very gently, very reassuringly: “Let it be.†It was lovely. I woke up with a great feeling. It was really like she had visited me at this very difficult point in my life and gave me this message: Be gentle, don’t fight things, just try and go with the flow and it will all work out. His mother's name was Mary, or course. He wrote the song in the next few days, and it was released on the album on the same name in 1970, a month after the Beatles split up. As for the actual texts, they're very different. In Dulci is macaronic (alternating between two languages, in this case Latin and a translation from Medieval German) and ecstatic; Let It Be is English and more subdued. In this version, we alternate between the two but keep the Let It Be structure, except for a diversion in the middle where the well-known Bach setting is adopted as kind of an interlude. The two texts and melodies are sung together in the last verse (the fourth In Dulci verse and the third Let It Be verse), where both are talking about music.
$3.99
What A Wonderful World
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Louis Armstrong
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Timothy Stapay
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What A Wonderful World
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Timothy Stapay
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1438013 By Louis Armstrong. By Bob Thiele and George David Weiss. Arranged by Timothy Stapay. Broadway,Film/TV,Jazz,Music...
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Piano Solo - Level 4 - SKU: A0.1438013 By Louis Armstrong. By Bob Thiele and George David Weiss. Arranged by Timothy Stapay. Broadway,Film/TV,Jazz,Musical/Show,Singer/Songwriter,Standards. Score. 6 pages. Timothy Stapay #1018085. Published by Timothy Stapay (A0.1438013). When it comes to timeless classics, few songs can compare to “What a Wonderful World” by Louis Armstrong’s Orchestra and Chorus. Released in 1967, this beautiful melody has transcended decades, touching the hearts of millions across the globe. After it was heard in the film Good Morning, Vietnam, it was reissued as a single in 1988, and rose to number 32 on the Billboard Hot 100. Armstrong's recording was inducted to the Grammy Hall of Fame in 1999.In a world often plagued by strife and uncertainty, the song serves as a gentle reminder to focus on the positive aspects of life. It urges us to look beyond our differences and embrace the beauty that surrounds us. It celebrates the wonders of nature, the innocence of children, and the power of love, instilling a renewed sense of appreciation for the world we live in.I see trees of green, red roses tooI see them bloom for me and youAnd I think to myself what a wonderful worldI see skies of blue and clouds of whiteThe bright blessed day, the dark sacred nightAnd I think to myself what a wonderful worldThe colors of the rainbow so pretty in the skyAre also on the faces of people going byI see friends shaking hands saying how do you doThey're really saying I love youI hear babies crying, I watch them growThey'll learn much more than I'll never knowAnd I think to myself what a wonderful worldYes I think to myself what a wonderful world.
$7.99
En Rêve for Percussion Ensemble
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Ensemble de Percussions
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FACILE
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Contemporain
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Anders Wall
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I felt like I was in France
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En Rêve for Percussion En
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WallofSound
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SheetMusicPlus
Percussion Ensemble - Level 2 - SKU: A0.1028124 Composed by Anders Wall. 20th Century,Contemporary. Score and parts. 23 pages. WallofSound #3374791. Pub...
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Percussion Ensemble - Level 2 - SKU: A0.1028124 Composed by Anders Wall. 20th Century,Contemporary. Score and parts. 23 pages. WallofSound #3374791. Published by WallofSound (A0.1028124). En Rêve, In Dream, was conceived when I studied composition for Tobias Broström. Every day I was commuting from Skurup to Båstad and every day I was struck by Båstads almost continental beauty; I felt like I was in France. Cobble stone roads, houses with towers and that mountain ridge close to the ocean...One day on the train, I ran into three French girls on holiday.Patiently they listened to my ideas and kindly helped me translate the tempo markings to French. The piece begins with us falling to sleep. The marimbas rocks us slowly In Dream.After sudden movements in the vibraphone we are happily strolling on the cobble stones, sun shining and children riding their bikes across the streets not noticing the rocky ride.Bells chime in the distance and the world – or the dream – vanish. As sudden as it started it is gone.The dissonance of the beginning is now gone and our sleep is peaceful and calm - or is it..? Originally a solo piece for Marimba dedicated to Kasper Grøn.Thanks to Camille, Carole, Raphaëlle for the help with the French.
$10.00
An Omani Dance Suite - COMPLETE BUNDLE (Score and all parts)
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Chorale SATB
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INTERMÉDIAIRE
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Stuart Brown
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An Omani Dance Suite - COMPLET
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Stuart Brown Music
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.835452 Composed by Stuart Brown. 20th Century,Contemporary,World. Octavo. 211 pages. Stuart Brown Music #5990681...
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Choral Choir (SATB) - Level 3 - SKU: A0.835452 Composed by Stuart Brown. 20th Century,Contemporary,World. Octavo. 211 pages. Stuart Brown Music #5990681. Published by Stuart Brown Music (A0.835452). A fantastic offer price for the full score and all parts! ... Looking for something to add a sense of oriental exoticism to your amateur orchestral/choral concert? This may be what you're looking for! This charming little suite of six dances lasts about 15½ minutes. It consists of a Pavane, Bourée, Sarabande, Allemande, Basse Danse and Galliard, which vary widely in character. As a whole the suite provides some interesting challenges for both performers and listeners. Apart from conventional strings, flute and harp (which can be either pedal or lever) you will need:- One or maybe two Arabian ouds. The parts are playable also on a fretless acoustic guitar. (Needs to be fretless because of the quarter-tones in some of the Arabic modes used.)- A cimbalom (the part can be played on a piano also, with slight modification). You might get away with using a hammered dulcimer but you'd need to make a number of compromises.- A doumbek and a djembe. These beautiful drums are a must for Middle-Eastern or African music. They're fairly easy to find, though finding somebody who can play them properly may take a bit more doing!- Finger cymbals and a gong. These are regular western instruments.- A wind-chime. Anything that produces a nice shimmering spangle of sound will probably do!- A group of singers (SATB). Nothing particularly challenging but see below.The primary oud part, the strings and the singers need to have sufficiently good intonation to pitch quarter tones. These are the exception rather than the rule, but nevertheless play an important part in the character of the music. Apart from this, the music is relatively straightforward and probably playable by any reasonably competent amateur or high school orchestra.In the spring of 2020 I wrote a set of short music tracks for a charity of which I'm a trustee. In order to protect my intellectual property rights in the music, I decided to bring it together into an attractive if not intellectually challenging little suite, hence An Omani Dance Suite. Originally the dances were all in Arabic quarter-tone temperament, but obviously quarter-tones cannot be played easily (if at all) on the flute, harp and cimbalom. So I have made some adjustments but retained the Arabic temperament wherever reasonably possible. I had thought initially of using a santur instead of a cimbalom, but the santur lacks the range and the dynamic capability to be used with a string chamber orchestra. The cimbalom doesn't need to be a concert grand model; in fact it doesn't even need to have dampers.The Omani was something of an afterthought: a musician friend of mine had worked in Oman and commented on how authentically Omani the Basse Danse sounded. The period of composition coincided with a time when I was really missing friends in Vietnam and Romania, so somehow influences from those countries found their way into the music.I'm not bothering with performing rights for this - just go away and enjoy the music! ... but if it inspires you find out more about the charity work that inspires me, feel free to get in touch!https://www.facebook.com/stuartbrownmusic/
$30.00
Old Time Rock & Roll
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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Film/TV
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Rock
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Bob Seger
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Will Corbin
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Old Time Rock & Roll
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Will Corbin
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - SKU: A0.1462337 By Bob Seger. By George Jackson and Thomas E. Jones III. Arranged by Will Corbin. Film/TV,Pop...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - SKU: A0.1462337 By Bob Seger. By George Jackson and Thomas E. Jones III. Arranged by Will Corbin. Film/TV,Pop,Rock. 19 pages. Will Corbin #1041082. Published by Will Corbin (A0.1462337). This 1979 hit from Bob Seger is probably his best-known song. He claims the lyrics are mostly his, although the song's credited writers say otherwise (and they're still all bickering about it). The song gained wider popularity after it was featured in the 1983 comedy flick Risky Business, which also featured Tom Cruise's big breakout role.If you need other instrumentation, please contact me at wilcor@aol.com.
$15.00
Two Benedictions
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Chorale SATB
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INTERMÉDIAIRE
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Michael W
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Two Benedictions
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Michael W. Hutchinson
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.993825 Composed by Michael W. Hutchinson. Christian,Christmas,Contemporary,Sacred. Octavo. 2 pages. Michael W. H...
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Choral Choir (SATB) - Level 3 - SKU: A0.993825 Composed by Michael W. Hutchinson. Christian,Christmas,Contemporary,Sacred. Octavo. 2 pages. Michael W. Hutchinson #4317361. Published by Michael W. Hutchinson (A0.993825). May be used in mainline Protestant churches as either benediction or response after the pastoral words. One is for general service and one for Christmas. Singers and a director new to the pieces have told me they're lovely. Hope you'll order enough for your choir!
$2.00
How Beautiful (Is the Love Between the Two of Us) - Flute trio
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Flûte traversière
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FACILE
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Connie Boss
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How Beautiful
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Connie Boss
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SheetMusicPlus
Flute Solo - Level 2 - SKU: A0.1074314 Composed by Connie Boss. A Cappella,Wedding. Individual part. 3 pages. Connie Boss #678611. Published by Connie B...
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Flute Solo - Level 2 - SKU: A0.1074314 Composed by Connie Boss. A Cappella,Wedding. Individual part. 3 pages. Connie Boss #678611. Published by Connie Boss (A0.1074314). This is an original song for a flute trio that could be played at weddings/engagements/anniversaries. The lyrics are included and work well for a singer to sing along. has a pretty harmony and moving parts. Questions or requests email cdboss@cvalley.net Lyrics below: How Beautiful (Is the Love Between the Two of Us) Refrain: How beautiful – How beautiful is your love for me How beautiful – How beautiful is my love for you How beautiful – How beautiful is the love between the two of us Is the love that we trust Verse 1: It’s like the fresh air after it rains It’s like the flowers blooming in the Spring It’s like the sound of voices when they sing When our hearts are beating….in synch Refrain: Verse 2: It’s the moment when we both knew I said I love you and you said it too That special feeling that our love was true Our wedding day when we said… “I do†Outro: How beautiful……. How beautiful…….
$5.99
The Story Of Reuben Clamzo & His Strange Daughter
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Chorale TTBB
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FACILE
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo &am
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Edition Craig Hanson
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SheetMusicPlus
Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edi...
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Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
Gangsta's Paradise
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Basse electrique
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INTERMÉDIAIRE
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Coolio Featuring L
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Daniel Roberts
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Gangsta's Paradise
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Daniel P Roberts
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SheetMusicPlus
Bass Guitar - Level 3 - SKU: A0.1113598 By Coolio Featuring L.V. By Artis Ivey, Doug Rasheed, Larry Sanders, and Stevie Wonder. Arranged by Daniel Rober...
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Bass Guitar - Level 3 - SKU: A0.1113598 By Coolio Featuring L.V. By Artis Ivey, Doug Rasheed, Larry Sanders, and Stevie Wonder. Arranged by Daniel Roberts. 20th Century,Film/TV,Hip-Hop,Instructional,R & B. Score. 2 pages. Daniel P Roberts #715501. Published by Daniel P Roberts (A0.1113598). Bass line of Synth Bass arranged for 5-string Bass with TAB. Use octave pedal. As I walk through the valley of the shadow of death I take a look at my life and realize there's not much left 'Cause I've been blastin' and laughin' so long, that Even my mama thinks that my mind is gone But I ain't never crossed a man that didn't deserve it Me be treated like a punk, you know that's unheard of You better watch how you're talkin', and where you're walkin' Or you and your homies might be lined in chalk I really hate to trip but I gotta loc As they croak, I see myself in the pistol smoke, fool I'm the kinda G the little homies wanna be like On my knees in the night, sayin' prayers in the streetlight Been spendin' most their lives, livin' in the gangsta's paradise Been spendin' most their lives, livin' in the gangsta's paradise Keep spendin' most our lives, livin' in the gangsta's paradise Keep spendin' most our lives, livin' in the gangsta's paradise Look at the situation they got me facin' I can't live a normal life, I was raised by the street So I gotta be down with the hood team Too much television watchin' got me chasin' dreams I'm an educated fool with money on my mind Got my ten in my hand and a gleam in my eye I'm a loc'd out gangsta set trippin' banger And my homies is down so don't arouse my anger, fool Death ain't nothin' but a heartbeat away I'm livin' life, do or die, what can I say I'm 23 now, but will I live to see 24? The way things is going, I don't know Tell me why are we, so blind to see That the ones we hurt, are you and me? Been spendin' most their lives, livin' in the gangsta's paradise Been spendin' most their lives, livin' in the gangsta's paradise Keep spendin' most our lives, livin' in the gangsta's paradise Keep spendin' most our lives, livin' in the gangsta's paradise Power and the money, money and the power Minute after minute, hour after hour Everybody's runnin', but half of them ain't lookin' It's goin' on in the kitchen, but I don't know what's cookin' They say I gotta learn, but nobody's here to teach me If they can't understand it, how can they reach me I guess they can't, I guess they won't I guess they front, that's why I know my life is out of luck, fool Been spendin' most their lives, livin' in the gangsta's paradise Been spendin' most their lives, livin' in the gangsta's paradise Keep spendin' most our lives, livin' in the gangsta's paradise Keep spendin' most our lives, livin' in the gangsta's paradise Tell me why are we, so blind to see That the ones we hurt, are you and me? Tell me why are we, so blind to see That the ones we hurt, are you and me?
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In My Room
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Chorale TTBB
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INTERMÉDIAIRE/AVANCÉ
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The Beach Boys
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Donald A
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In My Room
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Donald A Mills
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SheetMusicPlus
Choral Choir (TTBB) - Level 4 - SKU: A0.928974 By The Beach Boys. By Brian Wilson and Gary Usher. Arranged by Donald A. Mills, 2019. A Cappella,Pop,Rock...
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Choral Choir (TTBB) - Level 4 - SKU: A0.928974 By The Beach Boys. By Brian Wilson and Gary Usher. Arranged by Donald A. Mills, 2019. A Cappella,Pop,Rock. Octavo. 3 pages. Donald A Mills #4351149. Published by Donald A Mills (A0.928974). In My Room, by The Beach Boys. This gentle song may be sung as a prayer, with tenderness. Your audiences will love the melody and harmonies. This arrangement by Donald A. Mills is for barbershop as a quartet or chorus. It is TTBB (TLBB) a cappella, sung softly, sweetly, legato, singing the four dotted quarter notes as a 3/4 time. The Beach Boys have mentioned that they wrote In My Room in 12/8 time because they had tired of the 3/4 time many songs of the day were written in. From Wikipedia, Gary Usher explained that 'In My Room found us taking our craft a little more seriously. Brian and I came back to the house one night after playing 'over-the-line' (a baseball game). I played bass and Brian was on organ. The song was written in an hour... Brian's melody all the way. The sensitivity... the concept meant a lot to him. When we finished, it was late, after our midnight curfew. In fact, Murry [the Wilson brothers' father] came in a couple of times and wanted me to leave. Anyway, we got Audree [the Wilson brothers' mother], who was putting her hair up before bed, and we played it for her. She said, 'That's the most beautiful song you've ever written.' Murry said, 'Not bad, Usher, not bad,' which was the nicest thing he ever said to me. Gary Usher (who co-wrote the lyrics with Brian Wilson) further describes that Brian was always saying that his room was his whole world. Brian seconds this opinion: I had a room, and I thought of it as my kingdom. And I wrote that song, very definitely, that you're not afraid when you're in your room. It's absolutely true. In 1990, Brian wrote, I also enjoyed producing 'In My Room'. There is a story behind this song. When Dennis, Carl and I lived in Hawthorne as kids, we all slept in the same room. One night I sang the song 'Ivory Tower' to them and they liked it. Then a couple of weeks later, I proceeded to teach them both how to sing the harmony parts to it. It took them a little while, but they finally learned it. We then sang this song night after night. It brought peace to us. When we recorded 'In My Room', there was just Dennis, Carl and me on the first verse...and we sounded just like we did in our bedroom all those nights. This story has more meaning than ever since Dennis' death.
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Shall We Gather at the River
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Piano seul
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INTERMÉDIAIRE
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Robert Lowry
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Ken Litton
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Shall We Gather at the River
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Artist of Note, Inc.
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1450566 Composed by Robert Lowry. Arranged by Ken Litton. Christian,Instructional,Religious,Sacred,Traditional. Score. 3 ...
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Piano Solo - Level 3 - SKU: A0.1450566 Composed by Robert Lowry. Arranged by Ken Litton. Christian,Instructional,Religious,Sacred,Traditional. Score. 3 pages. Artist of Note, Inc. #1030191. Published by Artist of Note, Inc. (A0.1450566). Shall We Gather at the RiverRobert Lowry, 1864Easy intermediate PIANOFrom the author/composer of How Can I Keep from Singing, Low in The Grave He Lay/Christ Arose, All the Way My Savior Leads Me, We’re Marching to Zion and I Need Thee Every Hour comes this classic hymn of longing for heaven, worship and fellowship by Robert Lowry, 1864.On a ministry visit to a grieving family he was asked, “Pastor, we have parted at the river of death. Will we meet again by the river of life?” Lowry assured her from Revelation 22:1 they they would. Then, later that afternoon he wrote both the words and the music of Shall We Gather at the River.The arrangement may serve as well as an early goal for a progressing piano student as for an intermediate to advanced player this coming Sunday.The intro announces the tune and calls the first line of the chorus to mind. After setting the meditative mood the first stanza is presented in right hand melody with left hand accompaniment that only occasionallyis rhythmically active beyond beat three. Then, the easily playable key change takes the vision to the bank of the “shining river” by way of a brief, flowing left hand figuration. A few easily-managed major seven chords and an expressive dotted eighth note or two later the “melody of peace” concludes with echoes of the intro, bringing both heart and hands to rest.All this from the places you go for the best in downloadable resources:Sheet Music Directsheetmusicdirect.comSheet Music Plussheetmusicplus.comAs well as via Hal Leonard InStore™ retailers.Also…be sure to check out other titles from East of the Altar/Artist of Note, Inc.Thanks, as always to the good folks at ArrangeMe.com, a division of Hal Leonard!
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5 Easy Studies, Opus 50
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5 Easy Studies, Opus 50
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SheetMusicPlus
Louise Farrenc was a profoundly influential French composer, performer, professor, and author. Though she would ultimately become quite a sought-after performer...
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Louise Farrenc was a profoundly influential French composer, performer, professor, and author. Though she would ultimately become quite a sought-after performer, her potential as a composer was recognized quite early on. Women were not permitted to enroll in conventional composition classes at the Conservatoire de Paris at the time, but, she did receive private lessons from Anton Reicha, the professor of composition there. Years later she would receive a permanent appointment as Professor of Piano at the same institution, a position she held for thirty years. She was the only woman during the 19th century to bear that title. Her piano etudes possess pedagogical value as well as great beauty and character. These works lend themselves quite well to the guitar duo setting. While I have rendered all of Farrenc’s melodies quite faithfully, I have taken liberties with the accompaniments in order to make them more idiomatic to the guitar. Likewise, many of the effects of which the guitar is capable have been brought to bear in ways that deviate from the original intent of the etude. Alternatively, the challenges that some of these etudes were meant to address for the piano student are amplified by this adaptation. For example, etude 5 is intended to enable the piano student to improve the coordination between their left and right hands. It certainly presents a challenge in that regard to the guitar duo!These selections are entirely suitable for guitarists with limited experience, though they could, of course, be beautifully realized by players with a great deal more experience as well.Louise Farrenc était une compositrice, interprète, professeur et auteure française profondément influente. Même si elle deviendra finalement une interprète très recherchée, son potentiel en tant que compositrice est reconnu très tôt. Les femmes n'étaient pas autorisées à s'inscrire aux cours de composition conventionnels au Conservatoire de Paris à l'époque, mais elle recevait des cours particuliers d'Anton Reicha, le professeur de composition du Conservatoire de Paris. Des années plus tard, elle recevra un poste permanent de professeur de piano dans la même institution, poste qu'elle occupera pendant trente ans. Elle était la seule femme au XIXe siècle à porter ce titre.Ses études pour piano possèdent une valeur pédagogique ainsi qu'une grande beauté et un grand caractère. Ces œuvres se prêtent assez bien au montage en duo de guitares. Même si j’ai rendu assez fidèlement toutes les mélodies de Farrenc, j’ai pris des libertés avec les accompagnements afin de les rendre plus idiomatiques à la guitare. De même, de nombreux effets dont la guitare est capable ont été mis en œuvre d’une manière qui s’écarte de l’intention originale de l’étude. Alternativement, les défis que certaines de ces études étaient censées relever pour l'étudiant en piano sont amplifiés par cette adaptation. Par exemple, l'étude 5 est destinée à permettre à l'élève de piano d'améliorer la coordination entre ses mains gauche et droite. Cela représente certainement un défi à cet égard pour le duo de guitares !Ces sélections conviennent parfaitement aux guitaristes ayant une expérience limitée, même si elles pourraient bien sûr également être magnifiquement réalisées par des musiciens beaucoup plus expérimentés
Song List
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1. Andantino grazioso
2. Andantino
3. Allegretto
4. Poco allegro
5. Allegro moderato
$7.95
Chorale
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach, Paul Eb
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Steve Boudreau
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Chorale
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Steve Boudreau
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1000329 Composed by Johann Sebastian Bach, Paul Eber, and Steve Boudreau. Arranged by Steve Boudreau. 20th Century,Jazz,S...
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Piano Solo - Level 4 - SKU: A0.1000329 Composed by Johann Sebastian Bach, Paul Eber, and Steve Boudreau. Arranged by Steve Boudreau. 20th Century,Jazz,Sacred. Score. 2 pages. Steve Boudreau #6681051. Published by Steve Boudreau (A0.1000329). The Bach Chorales are ultimate examples of melodies creating harmonies, the parts coming together to form a whole. They are also great examples of a musician taking a melody and making a new arrangement of it, like jazz musicians do today. This piece is a combination of two chorale melodies that Bach arranged, originally based on hymns by 16th-century composer Paul Eber. For context, Bach set the melody around 200 years after it was written, and I re-worked the melodies with my own harmonies nearly 300 years after that.The first job I had when I moved back to Ottawa from Boston was as a church pianist. At one point there was a two-month stretch where I was in charge of programming the instrumental music we played, and I challenged myself to come up with new arrangements every week- the way Bach would have in his time, just on a much smaller scale. This was a terrific creative outpouring of music for me, and it renewed my enormous respect for the church music community and the work involved.For this piece I took two seemingly unrelated chorales (they are actually from the same Cantata, BWV 127) and attached them, using their distant keys of A Major and F Major to set up an interesting modulation halfway through. I had to actively try out some more modern harmonic progressions to take the overall sound of the piece further away from Bach's version. One of my favourite moments is when you finish the C major resolution and then repeat back into F# Minor at the top for improvising. In the solo piano version this surprising cut doesn't occur unless you take a second pass through the piece, so I encourage you to try repeating the piece even if you don't feel comfortable embellishing or changing anything the second time around.
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They're After Me
