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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
They Don
Sheetmusicplus
Non classifié
724
Piano & claviers
Piano seul
232
Piano, Voix
226
Piano Facile
97
Piano, Voix et Guitare
82
Orgue
27
Instruments en Do
17
1 Piano, 4 mains
13
2 Pianos, 4 mains
8
Accompagnement Piano
5
Piano (partie séparée)
4
Piano Trio: piano, violon, violoncelle
3
Clavecin
2
Piano Quatuor: piano, violon, alto, violoncelle
1
+ 8 instrumentations
Retracter
Guitares
Guitare notes et tablatures
22
Guitare
18
Ukulele
11
Guitare (partie séparée)
8
Piano, Guitare (duo)
6
Basse electrique
5
Paroles et Accords
3
Ligne De Mélodie, (Paroles) et Accords
2
Mandoline
1
Guitare, Violon, Violoncelle (trio)
1
3 Guitares (trio)
1
Mandoline, Guitare (duo)
1
Banjo
1
+ 8 instrumentations
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Voix
Chorale SATB
116
Chorale 2 parties
82
Chorale 3 parties
35
Chorale Unison
21
Chorale TTBB
19
Voix duo, Piano
8
Chorale SSAA
6
Voix seule
3
Voix duo
3
Voix Soprano, Piano
2
Voix Alto, Piano
2
Voix Baryton, Piano
2
Voix haute
1
Voix basse, Piano
1
+ 9 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
71
Quatuor de Saxophones: 4 saxophones
42
Flûte traversière et Piano
38
Clarinette et Piano
32
Saxophone Alto et Piano
32
Saxophone Tenor et Piano
27
Quintette de Flûte : 5 flûtes
27
Hautbois, Piano (duo)
27
Quintette de Saxophone: 5 saxophones
27
Ensemble de saxophones
26
Saxophone Soprano et Piano
23
Saxophone (partie séparée)
20
Quintette de Clarinettes: 5 clarinettes
18
Quatuor de Clarinettes: 4 clarinettes
17
2 Flûtes traversières (duo)
17
2 Saxophones (duo)
15
Quatuor de Flûtes : 4 flûtes
14
Clarinette
12
Ensemble de Clarinettes
12
2 Flûte à bec (duo)
11
Saxophone Baryton, Piano
11
Cor anglais, Piano
10
Flûte traversière
10
Saxophone Alto
10
Flûte, Clarinette (duo)
7
Clarinette Basse, Piano
7
Flûte, Hautbois, Clarinette, Basson
7
2 Clarinettes (duo)
6
Hautbois (partie séparée)
6
3 Clarinettes (trio)
5
Ensemble de Flûtes
5
Clarinette, Trompette (duo)
4
2 Hautbois (duo)
4
Flute (partie séparée)
4
Saxophone, Clarinette (duo)
3
Clarinette, Violon (duo)
3
Flûte à bec Soprano
3
Saxophone Tenor
2
Trio de Flûtes: 3 flûtes
2
Flûte et Guitare
2
Clarinette et Alto
2
Clarinette, Guitare (duo)
2
Saxophone Soprano
2
Saxophone Baryton
2
Flûte, Alto (duo)
2
Flûte à bec Tenor
2
Flûte, Hautbois, Clarinette (trio)
2
Hautbois
2
Cor Anglais
2
Clarinette, Violoncelle (duo)
1
Flûte à bec Soprano, Piano
1
Flûte irlandaise
1
Hautbois, Guitare (duo)
1
Flûte, Violoncelle
1
Flûte, Clarinette et Basson
1
Piccolo
1
2 Clarinettes, Basson
1
Cor anglais, Guitare (duo)
1
Flûte, Trombone (duo)
1
Flûte, Basson et Piano
1
Flûte à bec Alto
1
2 Flûtes traversières, Piano
1
Flûte à Bec
1
Piccolo, Piano
1
Saxophone
1
Flûte à bec Alto, Piano
1
Flûte, Violon
1
Clarinette, Basson (duo)
1
Saxophone, Violon (duo)
1
Quatuor de Flûtes à bec
1
2 Clarinettes, Piano
1
Hautbois, Clarinette (duo)
1
Flûte, Saxophone (duo)
1
Hautbois, Flûte
1
5 Flûtes à bec
1
Flûte, Hautbois (duo)
1
+ 71 instrumentations
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Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
57
Trombone et Piano
46
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
44
Euphonium, Piano (duo)
33
Ensemble de Trombones
31
Quatuor de cuivres: 4 trombones
26
Cor et Piano
23
Trombone (partie séparée)
18
Trompette
18
Tuba et Piano
16
Trombone
16
Quatuor de Cuivres
16
2 Trombones (duo)
13
Trompette (partie séparée)
13
Trompette, Piano
12
Tuba
11
Cor anglais, Piano
10
Ensemble de Trompettes
10
Cor
9
Quatuor de Cuivres: 2 trompettes, Cor, trombone
6
Cor (partie séparée)
5
Trompette, Saxophone (duo)
5
Ensemble de Cors
4
2 Trompettes (duo)
4
Trombone, Tuba (duo)
4
Trompette, Trombone (duo)
3
Tuba (partie séparée)
3
Trombone basse
3
2 Tubas (duo)
3
Quatuor de cuivres: 4 cors
2
3 Euphoniums
2
4 Tubas
2
Cor Anglais
2
Quatuor de cuivres: 4 trompettes
1
2 Cors (duo)
1
Bass Clef Instruments
1
Trompette, violon (duo)
1
Cor anglais, Guitare (duo)
1
2 Cors, Piano
1
Euphonium, Tuba (duo)
1
Ensemble de Tubas
1
Trompette, Violoncelle (duo)
1
Trio de Cuivres
1
2 Euphoniums (duo)
1
3 Trombones (trio)
1
Trombone basse et Piano
1
2 Euphoniums et 2 Tubas
1
+ 42 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
78
Violon et Piano
32
Trio à Cordes: violon, alto, violoncelle
30
Violoncelle, Piano
28
Violon
20
Alto, Piano
19
Violon, Violoncelle (duo)
14
2 Violons (duo)
13
Harpe
11
Violoncelle
9
Alto seul
8
Quintette à cordes: 2 violons, alto, violoncelle, basse
6
2 Violoncelles (duo)
6
Violon, Alto (duo)
6
Quintette à cordes: 2 violons, 2 altos, violoncelle
5
Contrebasse (partie séparée)
5
Contrebasse, Piano (duo)
4
Trio à Cordes: 2 violons, violoncelle
4
Contre Basse
3
Violon (partie séparée)
3
2 Harpes (duo)
3
Ensemble de Violons
2
Violoncelle (partie séparée)
2
Ensemble d'Altos
2
Violoncelle , Guitare (duo)
2
2 Altos (duo)
2
Alto et Harpe
1
Violon, Guitare (duo)
1
4 Violoncelles
1
4 Contrebasses
1
Ensemble de Violoncelles
1
Alto (partie séparée)
1
Violoncelle, Basse continue
1
Harpe, Violon (duo)
1
+ 29 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
156
Orchestre
61
Orchestre à Cordes
51
Ensemble Jazz
37
Fanfare
34
Ensemble de cuivres
25
Orchestre de chambre
7
Batterie (partie séparée)
5
Ensemble de Percussions
5
Batterie
4
Cloches
4
Jazz combo
4
Xylophone, Piano
2
Orchestre, Violon
1
+ 9 instrumentations
Retracter
Autres
Théorie de la musique
1
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
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Note4Piano
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Vous avez sélectionné:
They Don
SheetMusicPlus
Partitions à imprimer
3 723 partitions trouvées
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3701
Steve's Going To London
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Trombone basse
#
INTERMÉDIAIRE
#
AJR
#
Aaron Hettinga
#
Steve's Going To London
#
Aaron Hettinga
#
SheetMusicPlus
Bass Trombone - Level 3 - SKU: A0.1392677 By AJR. By Adam Metzger, Jack Metzger, and Ryan Metzger. Arranged by Aaron Hettinga. 21st Century,A Cappella,C...
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Bass Trombone - Level 3 - SKU: A0.1392677 By AJR. By Adam Metzger, Jack Metzger, and Ryan Metzger. Arranged by Aaron Hettinga. 21st Century,A Cappella,Comedy,Patriotic,Pop. 11 pages. Aaron Hettinga #976196. Published by Aaron Hettinga (A0.1392677). This fun and exciting song from pop band AJR is arranged here for a trio of 2 Tenor Trombones and Bass Trombone or Tuba but can also be pulled off with any combination of bass clef instruments: Trombones, Baritones/Euphoniums or Bassoons. The form here emulates the beginning of the AJR track with chorus, verse, chorus, then moves ahead to a different sort of trombone jam/playout (beginning at measure 51) which calls out some London-flavored melodies before a restatement of the last phrase of the chorus.The 1st part keeps the melody throughout this arrangement. There are some lower octave cues in the verse that will allow the player to only have to briefly touch on some F's and G's above the staff a few times if they donâ??t have a high B-flat at the ready. The remaining parts shoulder the greater technical challenge but also have some simplified cue notes available if needed.Optionally, if your group prefers not to undertake the brief tempo change (and Rule Britannia! quote) you can optionally skip measures 57 and 58 without slowing, but the chuckle from your audience will surely be worth the extra effort.
$19.99
They Came Here to Dance (Swing Band Arrangement)
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Ensemble Jazz
#
INTERMÉDIAIRE/AVANCÉ
#
Mike Strand, ASCAP
T
#
Mike Strand
#
They Came Here to Dance
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Michael M. Strand
#
SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 4 - SKU: A0.970736 Composed by Mike Strand. Graduation,Jazz,Wedding. Score and parts. 22 pages. Michael M. Strand #4...
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Jazz Ensemble Jazz Ensemble - Level 4 - SKU: A0.970736 Composed by Mike Strand. Graduation,Jazz,Wedding. Score and parts. 22 pages. Michael M. Strand #4890111. Published by Michael M. Strand (A0.970736). By Mike Strand, ASCAPThis is the full score, plus scores for three groups of parts, for a full arrangement of a swing tune for piano, bass, saxophone, trumpet, trombone, and two singers. After the cover, there are 21 pages of music: Ten pages for the full score; four pages for the group of blowing instruments (alto saxophone, B flat trumpet, and trombone); four pages for the piano and bass; and three pages for the two singers. Grouping the parts in this manner is natural and advantageous for this particular swing composition. These part groupings will help players in a group coordinate with each other from their group score. This is an excellent compromise between everyone working from the full score, and each player having a score with just the player’s individual part. The audio sample plays the full score.This product solves a problem that any composer of new jazz music faces: Unlike the popular standards, there aren’t any well-known and often-heard arrangements for a band to emulate. As the composer with only a lead sheet, I would have to convince your band to develop an arrangement from scratch, starting from nothing but the lead sheet! With so many attractive standard swing tunes to perform, a busy band may hesitate to put extra effort into an unknown tune. Problem solved! With this full arrangement of They Came Here to Dance, a band can better see and hear the tune’s full potential. It will be easier for a band to make any modifications to suit its particular mix of musicians and to better fit its style. With this arrangement, with written score, part group scores and audio sample, it will be as easy as working from the recording and score of a popular standard. All that’s missing from this arrangement is the percussion, because of the individuality of drummers. The band only needs a skilled jazz drummer to join in easily with this arrangement. Here are the lyrics to They Came Here to Dance: 1.You may come here to eat and to drink.Lots of chins wag, and wine glasses clink. Well, that’s all good, but here’s what I think: They came here to dance! 2. We cats up front have to check our sound mix. Then they walk in, togged to the bricks. They have the moves to show off our licks. They came here to dance! Bridge – Instrumental section, followed by: Our band’s in the groove – here’s one reason why: The doghouse amps are turned up high. They get in there, and tear up the floor! And they don’t care if their feet get sore. 3. Bustin’ our conks, we cats are hot, She is a wren who rocks him a lot! And they don’t care if we light up or not. They came here to dance!4. Bridge again, then:Bustin’ our conks, we cats are hot, She is a wren who rocks him a lot! And they don’t care if we light up or not.They have the learning to, they have a yearning to,They came here to dance! Note Some words in these lyrics are taken from Cab Calloway Slang: Light up – smoke a stick (marijuana cigarette) Doghouse - bass Get in there - go to work, get busy, make it hot, give it all you got Bustin’ our conks – breaking our necks (applying ourselves diligently) Wren – a chick, a queen (beautiful girl) Cat – musician in swing band Togged to the bricks – dressed to kill, from head to toe Licks – hot musical phrases In the groove – perfect, down the alley .
$8.00
You Don't Like What I'm Saying
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Piano, Voix et Guitare
#
INTERMÉDIAIRE/AVANCÉ
#
Andrew McDonald
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Andrew McDonald
#
You Don't Like What I'm Saying
#
Andrew Mc Donald
#
SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1415432 By Andrew McDonald. By Andrew McDonald. Arranged by Andrew McDonald. Christian,Country,Pop. Score. ...
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Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1415432 By Andrew McDonald. By Andrew McDonald. Arranged by Andrew McDonald. Christian,Country,Pop. Score. 6 pages. Andrew Mc Donald (Macka Records) #997167. Published by Andrew Mc Donald (Macka Records) (A0.1415432). You Don't Like What I'm Saying is a song about a person who gets uptight with the mention of God or Jesus in the context of a bible study or conversation. The heckles go up and a disagreement ensues because they see Jesus in you. Nothing will convince that person otherwise and they will not listen to your side of the story. They do not like what you are saying and as a result they do not like you. This is a scenario that can happen to any christian. This is the piano and vocal score.
$4.99
They Don't Care About Us
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Chorale SATB
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INTERMÉDIAIRE
#
Rock
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Michael Jackson
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Christopher Alexander
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They Don't Care About Us
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Christopher Alexander
#
SheetMusicPlus
Choral Choir,Choral (SATB) - Level 3 - SKU: A0.839898 Composed by Michael Jackson. Arranged by Christopher Alexander. Pop,Rock. 16 pages. Christopher Al...
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Choral Choir,Choral (SATB) - Level 3 - SKU: A0.839898 Composed by Michael Jackson. Arranged by Christopher Alexander. Pop,Rock. 16 pages. Christopher Alexander #6069839. Published by Christopher Alexander (A0.839898). Michael Jackson wrote this protest anthem in the mid-1990's and the song reached #30 on the Billboard Top 100. Â The music includes strong accents and rhythmic cadences to demonstrate a march-like feel to the performance. Â Though controversial at the time of its release, lyrics including the line All I wanna say is that they don't really care about us is a strong message that should be heard in today's world.Full score and parts available:https://www.sheetmusicplus.com/title/they-don-t-care-about-us-digital-sheet-music/21868853.
$2.50
They Don't Care About Us
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Rock
#
Michael Jackson
#
Christopher Alexander
#
They Don't Care About Us
#
Christopher Alexander
#
SheetMusicPlus
Bass Guitar,Drum Set,Piano,Synthesizer,Tenor Saxophone,Trombone,Trumpet - Level 3 - SKU: A0.839901 Composed by Michael Jackson. Arranged by Christopher ...
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Bass Guitar,Drum Set,Piano,Synthesizer,Tenor Saxophone,Trombone,Trumpet - Level 3 - SKU: A0.839901 Composed by Michael Jackson. Arranged by Christopher Alexander. Pop,Rock. 51 pages. Christopher Alexander #6069843. Published by Christopher Alexander (A0.839901). Michael Jackson wrote this protest anthem in the mid-1990's and the song reached #30 on the Billboard Top 100. The music includes strong accents and rhythmic cadences to demonstrate a march-like feel to the performance. Though controversial at the time of its release, lyrics including the line All I wanna say is that they don't really care about us is a strong message that should be heard in today's world.Octavo also available: https://www.sheetmusicplus.com/title/they-don-t-care-about-us-octavo-digital-sheet-music/21868851
$25.00
Ten Easy Pieces Folk Song They Say They Don't Care
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Piano seul
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Contemporain
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Bela Bartok
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Marcelo Torca
#
Ten Easy Pieces Folk Song They
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Marcelo Torca
#
SheetMusicPlus
Piano - SKU: A0.1064774 Composed by Bela Bartok. Arranged by Marcelo Torca. 20th Century. Full Performance. Duration 65. Marcelo Torca #2614055. Publish...
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Piano - SKU: A0.1064774 Composed by Bela Bartok. Arranged by Marcelo Torca. 20th Century. Full Performance. Duration 65. Marcelo Torca #2614055. Published by Marcelo Torca (A0.1064774). A música Ten Easy Pieces Folk Song They Say They Don't Care de Béla Bartók, tem a interpretação de Marcelo Torca ao piano solo.
$3.99
What You Don't Know About Women
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Voix duo, Piano
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AVANCÉ
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Contemporain
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Cy Coleman
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W
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What You Don't Know About Wome
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Diamond S Music
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SheetMusicPlus
Piano,Voice Duet Piano,Voice - Level 5 - SKU: A0.790075 Composed by Cy Coleman. Arranged by W. Brent Sawyer. Contemporary. 10 pages. Diamond S Music #35...
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Piano,Voice Duet Piano,Voice - Level 5 - SKU: A0.790075 Composed by Cy Coleman. Arranged by W. Brent Sawyer. Contemporary. 10 pages. Diamond S Music #3561465. Published by Diamond S Music (A0.790075). WHAT YOU DON’T KNOW ABOUT WOMEN from the musical CITY OF ANGELS. MALE VOCAL DUET in the KEY of F with 17 piece Band accompaniment. This is the PIANO/VOCAL PART ONLY. Scored for: Reed 1 (Flute, Bb Clarinet, Alto Sax), Reed 2 (Bb Clarinet, Alto Sax), Reed 3 (Bb Clarinet, Tenor Sax), Reed 4 (Bass Clarinet, Bari Sax), Bb Trumpet 1 & 2, Horn in F, Bass Trombone, Piano, Synth, Violin 1 & 2, Cello, Acoustic Guitar, Double bass, Drum Set, Percussion. This is an exuberant jazzy song from the 1989 Broadway musical City Of Angels with music by the great Cy Coleman and Lyrics by David Zippel. This song, in a very jazzy style, was originally is a fun lament of two women about their men who won’t listen to them. This version is sung by men and causes the meaning to be slightly shifted so that the men say how they don’t understand the women and how they do the things mentioned in the song - Only the pronouns have been flipped from the original. This is in the style of the original Broadway arrangement and in the original Broadway key. This arrangement can also be purchased with just the RHYTHM PACK that contains the Piano/Vocal, Guitar, Bass, Drums Parts or just the PIANO/VOCAL part if you don’t need the full orchestration. This arrangement is also available in the original FEMALE version. Other similar arrangements from DIAMOND S MUSIC available at: https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$9.99
What You Don't Know About Women
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Contemporain
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Cy Coleman
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W
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What You Don't Know About Wome
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Diamond S Music
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SheetMusicPlus
Large Ensemble Double Bass,Drums,Guitar,High Voice,Low Voice,Piano Accompaniment - Level 5 - SKU: A0.790077 Composed by Cy Coleman. Arranged by W. Brent...
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Large Ensemble Double Bass,Drums,Guitar,High Voice,Low Voice,Piano Accompaniment - Level 5 - SKU: A0.790077 Composed by Cy Coleman. Arranged by W. Brent Sawyer. Contemporary. Score and parts. 16 pages. Diamond S Music #3561473. Published by Diamond S Music (A0.790077). WHAT YOU DON’T KNOW ABOUT WOMEN from the musical CITY OF ANGELS. MALE VOCAL DUET in the KEY of F with 17 piece Band accompaniment. This is the RHYTHM PACK - includes PIANO/VOCAL, GUITAR, BASS, DRUMS PARTS.) Scored for: Reed 1 (Flute, Bb Clarinet, Alto Sax), Reed 2 (Bb Clarinet, Alto Sax), Reed 3 (Bb Clarinet, Tenor Sax), Reed 4 (Bass Clarinet, Bari Sax), Bb Trumpet 1 & 2, Horn in F, Bass Trombone, Piano, Synth, Violin 1 & 2, Cello, Acoustic Guitar, Double bass, Drum Set, Percussion. This is an exuberant jazzy song from the 1989 Broadway musical City Of Angels with music by the great Cy Coleman and Lyrics by David Zippel. This song, in a very jazzy style, was originally is a fun lament of two women about their men who won’t listen to them. This version is sung by men and causes the meaning to be slightly shifted so that the men say how they don’t understand the women and how they do the things mentioned in the song - Only the pronouns have been flipped from the original. This is in the style of the original Broadway arrangement and in the original Broadway key. This arrangement can also be purchased with just the RHYTHM PACK that contains the Piano/Vocal, Guitar, Bass, Drums Parts or just the PIANO/VOCAL part if you don’t need the full orchestration. This arrangement is also available in the original FEMALE version. Other similar arrangements from DIAMOND S MUSIC available at: https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$19.99
What You Don't Know About Women
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Contemporain
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Cy Coleman
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W
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PARTS.
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What You Don't Know About Wome
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Diamond S Music
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Cello,Clarinet,Double Bass,Drums,Flute,Guitar,High Voice,Horn,Low Voice,Multi-Percussion,Piano Accompaniment,Te...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Cello,Clarinet,Double Bass,Drums,Flute,Guitar,High Voice,Horn,Low Voice,Multi-Percussion,Piano Accompaniment,Tenor Saxophone,Trombone,Trumpet,Violin - Level 5 - SKU: A0.790076 Composed by Cy Coleman. Arranged by W. Brent Sawyer. Contemporary. Score and parts. 57 pages. Diamond S Music #3561467. Published by Diamond S Music (A0.790076). WHAT YOU DON’T KNOW ABOUT WOMEN from the musical CITY OF ANGELS. MALE VOCAL DUET in the KEY of F with 17 piece Band accompaniment. FULL SCORE & PARTS. Scored for: Reed 1 (Flute, Bb Clarinet, Alto Sax), Reed 2 (Bb Clarinet, Alto Sax), Reed 3 (Bb Clarinet, Tenor Sax), Reed 4 (Bass Clarinet, Bari Sax), Bb Trumpet 1 & 2, Horn in F, Bass Trombone, Piano, Synth, Violin 1 & 2, Cello, Acoustic Guitar, Double bass, Drum Set, Percussion. This is an exuberant jazzy song from the 1989 Broadway musical City Of Angels with music by the great Cy Coleman and Lyrics by David Zippel. This song, in a very jazzy style, was originally is a fun lament of two women about their men who won’t listen to them. This version is sung by men and causes the meaning to be slightly shifted so that the men say how they don’t understand the women and how they do the things mentioned in the song - Only the pronouns have been flipped from the original. This is in the style of the original Broadway arrangement and in the original Broadway key. This arrangement can also be purchased with just the RHYTHM PACK that contains the Piano/Vocal, Guitar, Bass, Drums Parts or just the PIANO/VOCAL part if you don’t need the full orchestration. This arrangement is also available in the original FEMALE version. Other similar arrangements from DIAMOND S MUSIC available at: https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$49.99
They Don't Know
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Batterie
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DÉBUTANT
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Pop musique
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Ariana Grande
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Felipe Gonçalves
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They Don't Know
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Felipe Gonçalves
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SheetMusicPlus
Drum Set,Drums - Level 1 - SKU: A0.1412894 By Ariana Grande. By Ilya, Justin Timberlake, and Savan Kotecha. Arranged by Felipe Gonçalves. Pop. Score....
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Drum Set,Drums - Level 1 - SKU: A0.1412894 By Ariana Grande. By Ilya, Justin Timberlake, and Savan Kotecha. Arranged by Felipe Gonçalves. Pop. Score. 3 pages. Felipe Gonçalves #994899. Published by Felipe Gonçalves (A0.1412894). Drums simplified arrangement music They Don't Know by Ariana Grande From Film Trolls.
$4.99
They Don't Know About Us
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Piano seul
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INTERMÉDIAIRE
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Pop musique
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One Direction
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Abby Simpson
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They Don't Know About Us
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Abby Simpson
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.929921 By One Direction. By Peter Wallevik, Tebey Ottoh, Tommy Lee James, and Tommy P. Gregersen. Arranged by Abby Simpso...
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Piano Solo - Level 3 - SKU: A0.929921 By One Direction. By Peter Wallevik, Tebey Ottoh, Tommy Lee James, and Tommy P. Gregersen. Arranged by Abby Simpson. Pop. Score. 5 pages. Abby Simpson #4810525. Published by Abby Simpson (A0.929921). They Don't Know About Us by One Direction arranged for solo piano. Intermediate level. No reach is farther than an octave. Perfect addition to any recital or solo performance.
$4.99
They Don't Care About Us
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Michael Jackson
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Eve C
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They Don't Care About Us
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Zene Strings
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SheetMusicPlus
String Ensemble,String Trio - Level 2 - SKU: A0.515842 Composed by Michael Jackson. Arranged by Eve C. Mailly. Contemporary,Pop,Rock. Score and parts. 1...
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String Ensemble,String Trio - Level 2 - SKU: A0.515842 Composed by Michael Jackson. Arranged by Eve C. Mailly. Contemporary,Pop,Rock. Score and parts. 16 pages. Zene Strings #5019197. Published by Zene Strings (A0.515842). They Don't Care About Us - by Michael Jackson, is arranged here for String Trio. Â As with all of our string trio arrangements, the middle part is included in both treble and alto clef so that it can either be played by two violins and a cello or a violin, viola and cello -- giving you greater performance flexibility. Â From your friends at Zene Strings -- enjoy!To see our other great arrangements visit:Â Zene Strings. Â Questions or comments? Â Email us at Music@ZeneSheetMusic.com. Â We're here to help!
$12.99
Don't Break My Heart
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Piano, Voix et Guitare
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INTERMÉDIAIRE/AVANCÉ
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Country
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Andrew McDonald
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Andrew McDonald
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Don't Break My Heart
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Andrew Mc Donald
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1106321 By Andrew McDonald. By Andrew McDonald. Arranged by Andrew McDonald. Country,Pop. Score. 5 pages. A...
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Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1106321 By Andrew McDonald. By Andrew McDonald. Arranged by Andrew McDonald. Country,Pop. Score. 5 pages. Andrew Mc Donald (Macka Records) #709438. Published by Andrew Mc Donald (Macka Records) (A0.1106321). Don't Break My Heart is a song about having second thoughts about breaking up. There are things which one still loves about the other in a relationship. It is difficult when one realizes they cannot do without the other and could not bare trying to survive on their own. This is a country song for piano and vocals.
$4.99
What Have They Done
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What Have They Done
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Hope Publishing - Digital
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SheetMusicPlus
Choral (Clarinet) - SKU: H1.C5690DP Piano with Optional Clarinet. Lent, Holy Week, Good Friday. Octavo. 12 pages. Hope Publishing - Digital #C5690DP. Pu...
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Choral (Clarinet) - SKU: H1.C5690DP Piano with Optional Clarinet. Lent, Holy Week, Good Friday. Octavo. 12 pages. Hope Publishing - Digital #C5690DP. Published by Hope Publishing - Digital (H1.C5690DP). Jay Althouse.Original anthem The pilgrimage of Holy Week leads us to the ultimate question What have they done? in this thought-provoking anthem from Jay Althouse. The somber tone and minor key perfectly captures the anguish of Good Friday and the ultimate sacrifice. The choral writing is expressive yet straightforward, and the optional clarinet part (included) adds warmth and color.
$2.95
Ali Ben Sou Alle: Fantaisie sur Don Giovanni de Mozart for alto saxophone and piano
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Saxophone Alto et Piano
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INTERMÉDIAIRE
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Ali Ben Sou Alle, Wolfgang Ama
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Paul Wehage
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Ali Ben Sou Alle: Fantaisie su
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Musik Fabrik Music Publishing
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SheetMusicPlus
Alto Saxophone,Piano - Level 3 - SKU: A0.533347 Composed by Ali Ben Sou Alle, Wolfgang Amadeus Mozart. Arranged by Paul Wehage. Concert,Opera,Romantic P...
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Alto Saxophone,Piano - Level 3 - SKU: A0.533347 Composed by Ali Ben Sou Alle, Wolfgang Amadeus Mozart. Arranged by Paul Wehage. Concert,Opera,Romantic Period,Standards. Score and part. 22 pages. Musik Fabrik Music Publishing #2348197. Published by Musik Fabrik Music Publishing (A0.533347). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in 1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director ofmusic of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London. While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series in London. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octave mechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and began touring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the «turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, through China and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It was during this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). He subsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyages were subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection known as The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution. Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, he performed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire Imperial Family. After 1865, nothing more is known about him. Soualle not only performed on the clarinet, saxophone and piano, but also frequently sang during his concerts. He also wrote songs while he was in London. His opera fantasies are usually written for the Alto saxophone and are generally in the form of an introductory aria with cadenza, a theme with one or more variations and then a final waltz movement in rondo form with a final brillant variation. This specific work opens with motives from the Opera‘s overture, leading to Donna Anna’s 1st act aria Or sai, chi l'onore. The duet Là ci darem la mano is the subject of two variations followed by a brief interlude using Zerlina’s aria Batti, batti, o bel Masetto and then the final section is the duo Andiam’ Andiam ‘ Mio Bene between Don Giovanni and Zerlina which ends the Act I duet. The work ends with a brillant coda
$11.95
Op. 45, No. 15: À qui m’avez vous donné? from Songs of Gouvy, V2 (Downloadable)
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Piano, Voix
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INTERMÉDIAIRE
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MeeAe Cecilia Nam and Theodore
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Op. 45, No. 15: À qui m
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Voice and piano - Medium - SKU: MQ.8492-15E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 3 pages. E. C. Schirmer Music Company - D...
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Voice and piano - Medium - SKU: MQ.8492-15E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 3 pages. E. C. Schirmer Music Company - Digital #8492-15E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-15E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
$3.00
Donut Etudes vol. 3: Don’t Step in the Holes! - Flute Quartet
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Quatuor de Flûtes : 4 flûtes
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INTERMÉDIAIRE
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Methodes
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
Flute Solo - Level 3 - SKU: A0.784325 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288633. Published by Slide Ride ...
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Flute Solo - Level 3 - 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
They That Wait Upon The Lord
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Clavecin
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AVANCÉ
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Don Hodell Chilcote
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Don Hodell Chilcote
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They That Wait Upon The Lord
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Don Hodell Chilcote
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SheetMusicPlus
Harpsichord - Level 5 - SKU: A0.778552 Composed by Don Hodell Chilcote. Arranged by Don Hodell Chilcote. Christian,Gospel,Jazz,Sacred. Score. 3 pages. D...
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Harpsichord - Level 5 - SKU: A0.778552 Composed by Don Hodell Chilcote. Arranged by Don Hodell Chilcote. Christian,Gospel,Jazz,Sacred. Score. 3 pages. Don Hodell Chilcote #14773. Published by Don Hodell Chilcote (A0.778552). They That Wait Upon The Lord, for Piano, Piano Solo. 21st Century, Christian, Sacred. Advanced. Published by Don Hodell Chilcote (S0.25956). They That Wait Upon The Lord, for advanced piano. A new version with harmonically rich and daring chord progressions. Piece includes a distinct and unique introduction, time signature change, and development. 2 page arrangement is challenging but not overly so, and well worth the effort to learn. Similar to hymn writing by the greats, Mark Hayes, Bill Wolaver, Mary McDonald, John Carter, Llyod Larson, and Larry Shackley in todays church pianist marketplace.
$2.99
Donut Etudes vol. 3: Don’t Step in the Holes! – English Horn Quartet
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Cor Anglais
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INTERMÉDIAIRE
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
English Horn Solo - Level 3 - SKU: A0.784328 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288645. Published by Slid...
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English Horn Solo - Level 3 - 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
Donut Etudes vol. 3: Don’t Step in the Holes! – Viola Quartet
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Alto seul
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INTERMÉDIAIRE
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Methodes
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
Viola Solo - Level 3 - SKU: A0.784339 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288683. Published by Slide Ride ...
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Viola Solo - Level 3 - 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
Donut Etudes vol. 3: Don’t Step in the Holes! – Bass Clarinet Quartet
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Quatuor de Clarinettes: 4 clarinettes
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INTERMÉDIAIRE
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Methodes
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
Bass Clarinet Solo - Level 3 - SKU: A0.784329 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288649. Published by Sli...
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Bass Clarinet Solo - Level 3 - 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
Donut Etudes vol. 3: Don’t Step in the Holes! – Bassoon Quartet
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Basson
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INTERMÉDIAIRE
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Methodes
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
Bassoon Solo - Level 3 - SKU: A0.784331 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288651. Published by Slide Rid...
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Bassoon Solo - Level 3 - 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
Donut Etudes vol. 3: Don’t Step in the Holes! – Brass Quartet or Quintet
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Flûte, Hautbois, Clarinette, Basson
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INTERMÉDIAIRE
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Methodes
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
Brass Ensemble Euphonium,Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.784343 Composed by Joshua Hauser. Instructional. Score and parts. 146 pages. Sli...
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Brass Ensemble Euphonium,Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.784343 Composed by Joshua Hauser. Instructional. Score and parts. 146 pages. Slide Ride #5288693. Published by Slide Ride (A0.784343). 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!
$15.00
Donut Etudes vol. 3: Don’t Step in the Holes! – Keyboard Percussion (Mallet) Quartet
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Ensemble de Percussions
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INTERMÉDIAIRE
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Methodes
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
Percussion Ensemble - Level 3 - SKU: A0.784338 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #5288673. Published by Sl...
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Percussion Ensemble - Level 3 - SKU: A0.784338 Composed by Joshua Hauser. Instructional. Score and parts. 38 pages. Slide Ride #5288673. Published by Slide Ride (A0.784338). 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
Donut Etudes vol. 3: Don’t Step in the Holes! – Horn Quartet
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Cor
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INTERMÉDIAIRE
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Methodes
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
French Horn Solo - Level 3 - SKU: A0.784335 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288663. Published by Slide...
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French Horn Solo - Level 3 - SKU: A0.784335 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288663. Published by Slide Ride (A0.784335). 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
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