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How lies this little child
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How lies this little child
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6 sheet music found
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1
The Frog Prince - Children's Musical Director's Script
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Betsy Lee Bailey
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Betsy Lee Bailey
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The Frog Prince - Children's M
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Betsy Lee Bailey
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SheetMusicPlus
Flute,Piano,Rhythm Instrument,Small Ensemble,Trumpet - Level 2 - Digital Download SKU: A0.1477511 By Betsy Lee Bailey. By Betsy Lee Bailey. Arranged by B...
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Flute,Piano,Rhythm Instrument,Small Ensemble,Trumpet - Level 2 - Digital Download SKU: A0.1477511 By Betsy Lee Bailey. By Betsy Lee Bailey. Arranged by Betsy Lee Bailey. Broadway,Children,Comedy,Historic,Musical/Show,Renaissance. Educational Method. 30 pages. Betsy Lee Bailey #1054893. Published by Betsy Lee Bailey (A0.1477511). The Frog Prince children's musical is a version for young actors of the famous Grimm's fairy tale retold in script and songs by Betsy Lee Bailey. The setting is northern France during the Renaissance. The Monarchs of two neighboring kingdoms are having problems with their children. The self-centered young Princess and the headstrong little Prince want things their own ways without considering how it affects their families. Kings and Queens, Heralds, Knights, Lords and Ladies, a Prince, Princesses, a Frog, and even a Dragon fill this show with many opportunities for your cast to shine. Some of the magic is done using hand puppets, stick ponies, coconut shell clip-clops, and ancient instruments. This show includes parts for many princesses not just one, NO LOVE STORY, and fun comedic parts for a lot of knights. The over-arching moral value is KEEPING PROMISES. Enjoyed by audiences of any age.The Director's Script is useful for Directors, Music Leaders, and Choreographers because it includes Vocal Lines of the main songs embedded within the script.For young actors ages 5-12.Running Time: approximately 30-45 minutes.
$49.99
First Three Notes - Three Blind Mice - Mary Had a Little Lamb - euphonium/baritone horn and piano
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Anon
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Phil Beaman
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First Three Notes - Three Blin
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Phil Beaman
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SheetMusicPlus
Baritone Horn BC,Euphonium,Piano - Level 1 - Digital Download SKU: A0.1204944 Composed by Anon. Arranged by Phil Beaman. Children,Classical,Folk,Instruct...
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Baritone Horn BC,Euphonium,Piano - Level 1 - Digital Download SKU: A0.1204944 Composed by Anon. Arranged by Phil Beaman. Children,Classical,Folk,Instructional,Traditional. Score and part. 4 pages. Phil Beaman #803234. Published by Phil Beaman (A0.1204944). You have just learned how to finger and play the first three notes on your instrument.  Now it is time for your first easy piece for performance!  My booklet  First Three Notes contains my arrangements of two well known tunes, Three Blind Mice and Mary Had a Little Lamb.  Prepared for the earliest beginners, it uses only the first three notes you learned on your instrument, and also uses only crotchet notes (quarter notes) and crotchet rests (quarter rests).  The piano accompaniment fills it out with simple but richly updated harmony.  4 pages, with cover, scores, parts in Bass Clef1:30 minutes, totalAlso available on this site, I have transposed this booklet for most of the traditional instruments that I know.
$2.99
Mysterious Moment for oboe and string trio
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Contemporary
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David Warin Solomons
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Mysterious Moment for oboe and
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David Warin Solomons
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SheetMusicPlus
Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and...
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Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #90581. Published by David Warin Solomons (A0.576733). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00
Mozart: Ave Verum Corpus for Piano Quintet
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Classical
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Wolfgang Amadeus Mozart
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James M
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Mozart: Ave Verum Corpus for P
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jmsgu3
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SheetMusicPlus
Piano Quintet Piano - Level 3 - Digital Download SKU: A0.552099 Composed by Wolfgang Amadeus Mozart. Arranged by James M. Guthrie. Classical,Instructiona...
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Piano Quintet Piano - Level 3 - Digital Download SKU: A0.552099 Composed by Wolfgang Amadeus Mozart. Arranged by James M. Guthrie. Classical,Instructional,Standards,Wedding. 12 pages. Jmsgu3 #6119421. Published by jmsgu3 (A0.552099). Mozart: Ave verum corpus K. 618 for PIANO QUINTET. This is a fantastic masterpiece of music written by one of the greatest composers in our history. This famous piece by Mozart was composed only six months before his untimely death in 1791. Mozart wrote this on commission while working on the Magic Flute. Program this for Lent or Easter meditations or any Christian communion service. Also, this would be a strong recital encore showing mastery of phrasing, tone quality, and dynamics.Ave verum corpusFirst, Mozart composed a most noteworthy motet in Latin, Ave verum corpus. This translates in English as Hail, the actual body. The motet is undoubtedly listed as K.618 in the Köchel Catalog. This is a chronological catalog of Mozart’s compositions consequently published by Ludwig von Köchel. Seems like Mozart probably composed this motet in the last year of his life. Likewise, he worked on his final opera, the Magic Flute, and his Requiem Mass at the time. Mozart wrote it for the feast of Corpus Christi. He scored it for SATB choir, string instruments, and a small organ. Hence, while the Requiem is a more dramatic work, the motet expresses even more the Eucharistic thoughts with relatively simple means, well-matched for the church choir in a small town.Early YearsWolfgang Amadeus Mozart (1756 – 1791) was a productive and significant Austrian classical composer. Mozart displayed unusual musical capability from his earliest childhood. It seems like he could already play the keyboard and violin at age two. He started composing at age five and performed before European royalty.Middle PeriodAt 17, Mozart was working as a musician at the Salzburg Royal Court but grew agitated from boredom and traveled to search for a more exciting job. While visiting Vienna in 1781, he was summarily dismissed from his Salzburg job. Nevertheless, he decided to stay in the Capital (Vienna), where he achieved much fame but little economic haven. Throughout his concluding years in the Capital, he composed many of his most famous works: symphonies, operas, and concertos.Final PeriodThe conditions surrounding his death have been the subject of much conjecture and mythology. He composed over 600 works, many recognized as high points of symphonic, chamber, concertante, choral, and operatic. He is among the most everlastingly famous classical composers, and his impact is substantial on succeeding Western art music.
$42.95
Heidenröslein: Variations on a Theme by Franz Schubert
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Classical
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Franz Schubert, Kayla Roth
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Heidenröslein: Variations on
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Kayla Roth
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SheetMusicPlus
Instrumental Duet,Piano Euphonium,Instrumental Duet,Piano,Trombone - Level 3 - Digital Download SKU: A0.927030 Composed by Franz Schubert, Kayla Roth. 20...
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Instrumental Duet,Piano Euphonium,Instrumental Duet,Piano,Trombone - Level 3 - Digital Download SKU: A0.927030 Composed by Franz Schubert, Kayla Roth. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 27 pages. Kayla Roth #3373343. Published by Kayla Roth (A0.927030). From the composer's program notes included with this purchase:I have taken Schubert’s famous setting and arranged it in a set of musical homages to other composers. I have also included Schubert’s original theme, transposed down to F, and I would recommend playing it twice in the beginning to give your audience a good idea of it.For most of the pieces, I tried to capture the composer’s overall style; however, there are a few particular pieces that are either quoted or used as the stylistic basis, as follows: Mozart - I based this variation, stylistically, on Piano Concerto No. 21 in C major (K.467), specifically movement two (Andante), as well as some of his earliest childhood piano compositions. Symphony 40 in G minor (K.550) is quoted rhythmically. Strauss, Jr. - For inspiration, I used Du und Du, Op. 367, a waltz that is derived from various parts of his beloved operetta, Die Fledermaus. I quoted rhythms from this, as well as from Frühlingsstimmen, Op. 410. Joplin - I didn’t base this on any particular piece of Joplin’s; I tried to include elements that are common in his rags (a short introduction, arpeggiated diminished seventh chords, chromaticism, syncopation over a boom-chuck). Perhaps the best advice comes from Joplin himself: Don’t play this piece fast. It is never right to play ragtime fast. Porter - I had to include an offering from the Great American Songbook! Frank Sinatra recorded several of Porter’s well-known tunes in the 1940s, such as Easy To Love, Night and Day, and I Love You; his renditions of these songs are heavy on the schmaltz and sentimentality, which is exactly what I was trying to achieve in this variation.Bach - The minor variation! I had Fugue in G minor, BWV 578 (Little Fugue) in mind when writing this.der Jodelkönig - As Heidenröslein is a strophic, folk-songesque German piece, I thought it fitting to end the variations with an imitation of traditional Alpine yodeling. It is named in honor of Franzl Lang, the Yodelking.
$20.00
FOREST TALES (pieces for classical guitar in unequal time signatures)
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Vasil Belezhkov
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Vasil Belezhkov
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FOREST TALES
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Vasil Belezhkov
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SheetMusicPlus
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1399445 By Vasil Belezhkov. By Vasil Belezhkov. Arranged by Vasil Belezhkov. 21st ...
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Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1399445 By Vasil Belezhkov. By Vasil Belezhkov. Arranged by Vasil Belezhkov. 21st Century,Children,Classical,Folk. Individual part. 26 pages. Vasil Belezhkov #982729. Published by Vasil Belezhkov (A0.1399445). FOREST TALES is a collection of 10 pieces that aim to acquaint classical guitar students with the unequal time signatures most commonly used in Bulgarian folk music  (starting with 5/8, all the way  to 15/8). Each of the pieces is aimed at mastering a certain technical element: the ‘Little Spider’ stretches the threads of its cobweb through a descending legato to an open string, ‘Dr. Woodpecker’ takes care of the bark of the trees through various percussion techniques, the ‘Fireflies’ glitter with the sound of natural harmonics, and so on.All musicians all over the world are familiar with dance forms like alemande and sarabande, menuette and waltz, tango and rumba, but how many of them are familiar with the different Bulgarian types of 'horo' (ring-dances)? Each piece in my 'Forest Tales' collection is predecesed by a text explaining which dances from which Bulgarian folk regions are typical for this or that time signature and how we are supposed to count the beats in it.I wish you a pleasant and fruitful time with this book!Vasil BelezhkovP.S. Some of the pieces also have piano transcriptions made by me.
$3.00
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