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--INSTRUMENTS--
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We are All Americans
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Vous avez sélectionné:
We are All Americans
SheetMusicPlus
Partitions à imprimer
12 partitions trouvées
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We are All Americans (Allegiance)
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Piano, Voix
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Carrie Jacobs-Bond
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Carrie Jacobs-Bond
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We are All Americans
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - SKU: LV.23581 Composed by Carrie Jacobs-Bond. Soldiers, War casualties, Patriotism, War allies, World War I. Lester S. Levy Collection...
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Piano and voice - SKU: LV.23581 Composed by Carrie Jacobs-Bond. Soldiers, War casualties, Patriotism, War allies, World War I. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.23581). We are All Americans (Allegiance). By Carrie Jacobs-Bond. Words by Fanny Hodges Newman. Published 1918 by The Bond Shop, by Carrie Jacobs-Bond & Son, Inc., 746 Michigan Ave. in Chicago. Composition of strophic with piano and voice instrumentation. Subject headings for this piece include Soldiers, War casualties, Patriotism, War allies, World War I. First line reads O, England's full of Englishmen and France is full of French.. 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Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents.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
Harrigan & Hart's New Song and Chorus. The Gallant Sixty-Ninth
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Piano, Voix
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Dave Braham
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Harrigan & Hart's New Song
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - SKU: LV.20674 Composed by Dave Braham. Piers & wharves, Forts & fortifications, Soldiers--Ireland, Steamboats, Ships, Bodies of water,...
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Piano and voice - SKU: LV.20674 Composed by Dave Braham. Piers & wharves, Forts & fortifications, Soldiers--Ireland, Steamboats, Ships, Bodies of water, African Americans, Military officers, Patriotism. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.20674). Harrigan & Hart's New Song and Chorus. The Gallant Sixty-Ninth. Words by Edward Harrigan. Music by Dave Braham. Published 1875 by Wm. A. Pond & Co., 547 Broadway in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Piers & wharves, Forts & fortifications, Soldiers--Ireland, Steamboats, Ships, Bodies of water, African Americans, Military officers, Patriotism. First line reads We are privates in the Sixty-Ninth, we follow up the fife and the drum.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
The Story Of Reuben Clamzo & His Strange Daughter
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Chorale TTBB
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FACILE
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo &am
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Edition Craig Hanson
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SheetMusicPlus
Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edi...
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Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
The Unquiet Grave from American Death Ballads (Downloadable)
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Voix haute
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David Conte
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The Unquiet Grave from America
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
High voice and piano - Moderately Difficult - SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. E. C. Schirmer M...
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High voice and piano - Moderately Difficult - SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8454-2E. Published by E. C. Schirmer Music Company - Digital (MQ.8454-2E). English.American Death Ballads was composed especially for tenor Brian Thorsett. We have been frequent collaborators since 2011, when he premiered the complete set of my Three Settings of W. B. Yeats for string quartet and tenor. At his urging, I transcribed and published my Three Poems of Christina Rossetti (originally for medium voice) for high voice, which he premiered at the San Francisco Conservatory in 2014. American Death Ballads was premiered by him at the San Francisco Conservatory, November 1, 2015, with pianist John Churchwell, and at the National Association of Teachers of Singing (NATS) Conference in Chicago, July 10, 2016, with pianist Warren Jones.The choice of texts for my American Death Ballads was inspired partly by Copland’s Old American Songs, which I deeply admire, but more by my dear friend and colleague the late Conrad Susa’s Two Murder Ballads. The ingenuity of Susa’s accompaniments for his ballads in imagining anew the original source material owes a great deal to Copland’s accompaniment for his songs. Though the content of my songs is completely original and not based on preexisting melodies, I have tried to expand on this further, as the texts are much longer, and go through many different moods and characters. The four texts I chose include stories about murder, death, and dying. Though two of the texts were written in England, they traveled to the colonies almost immediately. The subjects of the texts had spent time in America, and their stories were well known to Americans.Wicked Polly is a cautionary tale. Polly has lived a dissolute and immoral life, saying, 'I'll turn to God when I grow old.' Suddenly taken ill, she realizes that it is too late to repent. She dies in agony and is presumably sent to hell; young people are advised to heed. My musical setting is stately and preacherly in character for the narrator; for Polly it becomes pleading and remorseful. The Unquiet Grave was brought to the attention of Alan Lomax, the great American field collector of folk music, by English folk singer Shirley Collins. The text is taken from an English folk song dating from 1400. In The Unquiet Grave, a young man mourns his dead lover too fervently and prevents her from obtaining peace. The dead woman complains that his weeping is keeping her from peaceful rest. He begs a kiss; she tells him it would kill him. When he persists, wanting to join her in death, she explains that once they were both dead their hearts would simply decay, and that he should enjoy life while he has it. My setting is in a flowing Andante with a rocking accompaniment. Three voices are delineated here: the narrator, the mournful lover, and the dead lover speaking from the grave. The Dying Californian first appeared in the New England Diadem in 1854. Its lyrics are based on a letter from a New Englander’s sailor to his brother who is dying at sea while on the way to California to seek his fortune in the California gold fields. He implores his brother to impart his message to his father, mother, wife, and children. My setting opens with the singer alone in a moderate dirge tempo, then, joined by the piano, moves through many tonalities and moods before ending with supreme confidence as the speaker 'gained a port called Heaven/Where the gold will never rust.'Captain Kidd was a Scottish sailor who was tried and executed for piracy and murder in 1701. The American connection to this ballad is that Kidd escaped to America and for a time lived in New York and Boston, though he was a wanted criminal by the British authorities and was extradited to Britain, where he was hung at 'Executioner’s Dock.' The lyric was printed in Britain in 1701, traveling to the colonies almost immediately. Though the didactic tone of the text is similar to Wicked Polly, it expresses no regret until the final lines: 'Take warning now by me, and shun bad company, / Lest you come to hell with me, for I must die.' My setting is fast and spirited, expressing the confidence of a man who lived life as he wanted. -David Conte.
$3.50
How Texas Was Born
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Piano, Voix et Guitare
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DÉBUTANT
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Charles M
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How Texas Was Born
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Major Mandolin
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 1 - SKU: A0.1490173 Composed by Charles M. Prignano, Major, USAF, Retired. Country,Film/TV,Folk,Historic,Patriotic. Sco...
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Guitar,Piano,Vocal,Voice - Level 1 - SKU: A0.1490173 Composed by Charles M. Prignano, Major, USAF, Retired. Country,Film/TV,Folk,Historic,Patriotic. Score. 3 pages. Major Mandolin #1067024. Published by Major Mandolin (A0.1490173). 23 February - 6 March 1836R E M E M B E R T H E A L A M O !For 13 deadly days – from the 23rd of February to the 6th of March – in 1836, within the sacred, holy, and hallowed walls of an old Catholic mission, 200 brave men faced thousands of the enemy and had the privilege of choosing the time, place and cause of their death. Can any among us even dare hope to die at a time and in a place of our choosing, and for a cause in which we so fervently believe? These men were prepared for the enemy; these men were prepared for death; these men were prepared to meet The Lord. The names of William Barrett Travis, Davy Crockett, and James Bowie are known by all. But they fought and died alongside 197 other courageous souls – nameless, but honored nonetheless. Some of the nameless souls were of European heritage, some were of Mexican descent, some were Americans. For those daring and deadly days in San Antonio, all were Texians !R E M E M B E R T H E A L A M O !How can any Texian dare forget ? !
$5.99
We're America
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Chorale SATB
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FACILE
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Cathy Harrison
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N/A
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We're America
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Sapphire Bay Designs
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SheetMusicPlus
Choral Choir (Mixed) - Level 2 - SKU: A0.904628 Composed by Cathy Harrison. Arranged by N/A. Children,Folk,Patriotic. Octavo. 3 pages. Sapphire Bay Desi...
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Choral Choir (Mixed) - Level 2 - SKU: A0.904628 Composed by Cathy Harrison. Arranged by N/A. Children,Folk,Patriotic. Octavo. 3 pages. Sapphire Bay Designs #3005489. Published by Sapphire Bay Designs (A0.904628). We're America , written by music teacher and ASCAP member Cathy Harrison, expresses the feelings of strength and unity.of Americans in the face of fear and uncertainty, which is so timely for our country's current political.climate. We're America also expresses the need for living by the Golden Rule in order to achieve peace, ultimately world-wide peace. This piece has a strong, majestic and beautiful melody, sure to be loved by all! We're America is a chorale which is well-suited to be sung in unison by upper elementary through adult choirs, including church choirs. It would be particularly effective to have a school choir perform this piece at a PTA/PTO program. This piece would be amazing accompanied by a guitar ensemble (guitar chords are included!) Performance practice suggestions emphasize practicing the piece phrase by phrase. For more information on this piece, please contact Ms. Harrison via the contact form on her website www.cathyharrisonsmusic.com.
$7.00
Sonata Hymnica No. 6
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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James Siddons
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Sonata Hymnica No. 6
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James Siddons Music and Writings
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.972673 Composed by James Siddons. Contemporary,Folk,Jazz,Spiritual. Score. 25 pages. James Siddons Music...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.972673 Composed by James Siddons. Contemporary,Folk,Jazz,Spiritual. Score. 25 pages. James Siddons Music and Writings #6698569. Published by James Siddons Music and Writings (A0.972673). Performance NoteSonata Hymnica No. 6 is scored for two pianos and three performers. One performer (or player) sits at Piano I and may also serve as the conductor. At Piano II, Performer 1 plays from the treble staff and Performer 2 plays from the bass staff. There are possible variations in this, such as having four pianos (two pianos doubling the other two), or having two performers at Piano I, with Performer 2 playing only the bass-staff rhythmic pattern that begins in measure 37. A standing conductor (not playing piano) may be desired.  Although repetitive, the music in this sonata rarely repeats itself exactly; hence, further minor improvisations by the performers are appropriate, keeping with the improvisatory nature of oral tradition. Program Note (for use in concert programs) by James Siddons  The Sonata Hymnica series by James Siddons consists of piano solos that explore the world of American hymns and vernacular religious songs in the 1880-1920 era, when rural and small-town churches relied on pianos for music, and, in an age before microphones and amplification, the acoustics of wooden floors, walls, and high ceilings. These sonatas are not hymn arrangements but explorations of the sounds that can be created by a piano in a reverberant environment, all the while keeping in mind the essential message of the familiar words sung to the various hymn tunes. Sonata Hymnica No. 6 is the first in the series to be for piano ensemble, and the second (after No. 3) to be based on the worship music of the 19th-century African American church. This sixth sonata also explores the singing world of the black congregation and choir as well as the piano. Their singing was shaped by the sounds and intonations of the piano and the heritage of European music behind it, as well as the contours and cadences of the religious folk songs known as Spirituals. But the black congregations also sang hymns and choruses from the Classical tradition, and the Spirituals became the basis of many adaptations by white arrangers. Thus, we may speak of standardized adaptations of Spirituals as white black music, and black performance styles of Classical works as black white music. Piano ragtime music is a non-religious example of white music (the military march) made into black white music by the blending in of the syncopated rag rhythm. Sonata Hymnica No. 6 explores the intermingling of these two strains of American music as heard in the 19th-century black church. In his classic book The Souls of Black Folk (Chicago, 1903), W. E. B. Du Bois confesses to not being a musician but nonetheless finding himself enthralled by the music of the Southern 19th-century African Americans. He refers to their singing as the Frenzy or ‘Shouting,’ when the Spirit of the Lord passed by, and seizing the devotee, made him mad with supernatural joy . . . stamping, shrieking, and shouting, the rushing to and fro and waving of arms, the weeping and laughing, the vision and the trance (p. 116). On another page, Du Bois speaks of . . . the songs of my fathers . . . swelling with song, instinct for life, tremendous treble and darkening bass (p. 163). Sonata Hymnica No. 6 uses the African call and response form as well as percussive polyrhythms.
$10.00
Dancing in the Barn. Song
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Piano, Voix
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Tom Turner
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Dancing in the Barn. Song
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - SKU: LV.4166 Composed by Tom Turner. Afro-Americans, Caricature, Dialects, Recreation, Leisure, Ballroom dancing, Happiness. Lester S....
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Piano and voice - SKU: LV.4166 Composed by Tom Turner. Afro-Americans, Caricature, Dialects, Recreation, Leisure, Ballroom dancing, Happiness. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.4166). Dancing in the Barn. Song. Words by Andy McKee. Music by Tom Turner. Published 1878 by T.B. Harms & Co., 819 Broadway in New York. Composition of strophic with chorus (with dance interlude) with piano and voice instrumentation. Subject headings for this piece include Afro-Americans, Caricature, Dialects, Recreation, Leisure, Ballroom dancing, Happiness. First line reads Oh, we'll meet at de ball in de evening.. 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
Hurrah! Hurrah! For America
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Piano, Voix
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Howard Clifton
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Hurrah! Hurrah! For America
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - SKU: LV.14009 Composed by Howard Clifton. Angels, Jugglers, Horseback riding, Native Americans, Composers, Portraits, Fictitious chara...
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Piano and voice - SKU: LV.14009 Composed by Howard Clifton. Angels, Jugglers, Horseback riding, Native Americans, Composers, Portraits, Fictitious characters, Fantasies, Patriotism. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.14009). Howard Clifton's Latest Song. Hurrah! Hurrah! For America. Composed by Howard Clifton. Published 1877 by F.W. Helmick, NO.50 West Fourth Street in Cincinnati, O. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Angels, Jugglers, Horseback riding, Native Americans, Composers, Portraits, Fictitious characters, Fantasies, Patriotism. First line reads The new world is our home, And freemen all are we.. 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
Uncle Remus' Revival Hymn
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Chorale SATB
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W
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Uncle Remus' Revival Hymn
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice (solo and SATB chorus) - SKU: LV.4615 Composed by W. C. Hill. Dialects, African Americans, Biblical references, Religion, Ethnic stereot...
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Piano and voice (solo and SATB chorus) - SKU: LV.4615 Composed by W. C. Hill. Dialects, African Americans, Biblical references, Religion, Ethnic stereotypes. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.4615). Uncle Remus' Revival Hymn. Music by W.C. Hill. Published 1878 by John Church & Co. in Cincinnati. Composition of strophic with chorus with piano and voice (solo and satb chorus) instrumentation. Subject headings for this piece include Dialects, African Americans, Biblical references, Religion, Ethnic stereotypes. First line reads O whar shall we go w'en de great day comes.. 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
Hannah, Is You Dar? Song and Chorus
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Piano, Voix
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Will S
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Will S
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Hannah, Is You Dar? Song and C
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - SKU: LV.4780 Composed by Will S. Hays. Angels, African Americans, Dialects, Love, Death, Grief, Ethnic stereotypes. Lester S. Levy Col...
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Piano and voice - SKU: LV.4780 Composed by Will S. Hays. Angels, African Americans, Dialects, Love, Death, Grief, Ethnic stereotypes. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.4780). Hannah, Is You Dar? Song and Chorus. By Will S. Hays. Published 1880 by Geo. D. Newhall & Co. in Cincinnati. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Angels, African Americans, Dialects, Love, Death, Grief, Ethnic stereotypes. First line reads O I remember Hannah when we lived in Louisian' whar' I used to hoe de cotton and de cane.. 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
Revelation (score only - standard size)
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Craig Wadley
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Revelation
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Wadley Publications
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.983169 Composed by Craig Wadley. 20th Century,Concert,Contemporary,Standards. Score and parts. 13 pages. Wadley Publica...
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Concert Band - Level 4 - SKU: A0.983169 Composed by Craig Wadley. 20th Century,Concert,Contemporary,Standards. Score and parts. 13 pages. Wadley Publications #3046247. Published by Wadley Publications (A0.983169). This is a full score in STANDARD SIZE (8.5 X 11) format for Revelation by Craig Wadley, ATTENTION - SMALL PRINT, recommended only for adjudication purposes.PARTS SOLD SEPARATELY.Revelation was commissioned in 2002 by Dru Davison, then Director of the Brookland High School Band in Brookland, Arkansas. In 2002, the United States was still reeling from the deadly and devastating terrorist attacks of September 11, 2001. In the wake of the tragic loss of life and the shaking of the nation’s sense of security, many people feared what the future might bring. Revelation begins with a question: Where do we go from here? The piece presents the uncertainty and sense of foreboding felt by so many Americans at that point in history, followed shortly by the only possible response: We must move forward. The music moves toward its climax with new energy, driving onward with a sense of urgency, reflecting the heart and will of a nation determined to rise above tragedy.Soli section for Flute, Clarinet, Alto Sax, and Tuba soloists, with percussion.
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We are All Americans
