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You've selected:
It's Too Late
Sheetmusic to print
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It's Too Late
Small Ensemble Bass Guitar,Drum Set,Flute - Level 3 - Digital Download SKU: A0.855318
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Small Ensemble Bass Guitar,Drum Set,Flute - Level 3 - Digital Download SKU: A0.855318 By Gloria Estefan. By Carole King and Toni Stern. Arranged by Joseph Pugh. Contemporary. Score and parts. 8 pages. Joseph Pugh #6610465. Published by Joseph Pugh (A0.855318). Copyright © 1971 Colgems-EMI Music Inc. Copyright RenewedIt's Too Late is a song from Carole King's 1971 album Tapestry. Toni Stern wrote the lyrics and King wrote the music. It was released as a single in April 1971 and reached number 1 on the Billboard Hot 100 and Adult Contemporary charts. Sales were later gold-certified by the RIAA. Billboard ranked It's Too Late and its fellow A-side, I Feel the Earth Move, as the No. 3 record for 1971.This is a shortened jazz flute solo version of the song by, Joseph Pugh.
$7.99
7.24 €
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Gloria Estefan
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It's Too Late
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Joseph Pugh
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SheetMusicPlus
It's Too Late
Choral Choir,Choral,SAA Chorus - Level 2 - Digital Download SKU: A0.1402887 By Caro…
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Choral Choir,Choral,SAA Chorus - Level 2 - Digital Download SKU: A0.1402887 By Carole King. By Carole King and Toni Stern. Arranged by Elise Letourneau. Broadway,Musical/Show,Pop,Rock,Singer/Songwriter,Standards. 9 pages. Elise Letourneau #986112. Published by Elise Letourneau (A0.1402887). As sung by The Juliet Singers and Vox Eclectica Women's+ Choir. SAA arrangement of the memorable song composed by Carole King and Toni Stern, featured in the musical Beautiful. Rich harmonies, with lines carefully considered for approachability. Four-stave system with chord symbols. 9 pages. Duration about 3:12. Programming themes include: change, relationships, being true to yourself, amicable breakup, moving onElise Letourneau is a multiple award-winning composer, and an accomplished songwriter, multi-instrumentalist performer, arranger, producer, choir director, and educator. Her compositions and arrangements have been performed around the globe. www.eliseletourneau.com
$2.00
1.81 €
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Carole King
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It's Too Late
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Elise Letourneau
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SheetMusicPlus
It's Too Late (Alto Saxophone Feature)
Level 3 - Digital Download SKU: HX.129580 By Carole King. By Carole King and Toni S…
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Level 3 - Digital Download SKU: HX.129580 By Carole King. By Carole King and Toni Stern. Arranged by Mark Taylor. Jazz,Pop. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.129580).
$45.00
40.76 €
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Carole King
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It's Too Late
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Hal Leonard - Digital
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SheetMusicPlus
It's Too Late
Small Ensemble - Level 2 - Digital Download SKU: A0.918029 By Gloria Estefan. By Ca…
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Small Ensemble - Level 2 - Digital Download SKU: A0.918029 By Gloria Estefan. By Carole King and Toni Stern. Arranged by Ronn M. Contemporary. Score and parts. 4 pages. Ronn M #5798303. Published by Ronn M (A0.918029).
$4.99
4.52 €
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Gloria Estefan
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It's Too Late
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Ronn M
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SheetMusicPlus
It's Too Late
Small Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Interactive Download SKU: A0.9975…
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Small Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Interactive Download SKU: A0.997557 By Carole King. Arranged by J. Randolph Hall. This edition: Interactive Download. Pop,Rock,World. Score and parts. 12 pages. Duration 162. J. Randolph Hall #65SHOqcFU9qId7ksSW27Oh. Published by J. Randolph Hall (A0.997557). Key: Eb major.This was written by American songwriter Carole King from NYC.
$4.00
3.62 €
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Carole King
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It's Too Late
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J. Randolph Hall
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SheetMusicPlus
I'll Tell It Wherever I Go
Choir Sacred Instrumental Ensemble - Digital Download SKU: JX.00-39162 Incorpora…
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Choir Sacred Instrumental Ensemble - Digital Download SKU: JX.00-39162 Incorporating This Little Light of Mine. Composed by Thomas A. Dorsey. Arranged by Vicki Tucker Courtney. This edition: InstruPax. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Alfred Church Choral Series. Gospel; Sacred. Part(s). 19 pages. Jubilate Music Group - Digital #00-39162. Published by Jubilate Music Group - Digital (JX.00-39162). English.Vicki Tucker Courtney puts on her Gospel shoes to spread the good news in a Thomas A Dorsey favorite. She pairs it with flickers of This Little Light and the result is a worship tool that any church can use. The swing feel is fun and her just right piano accompaniment makes for a rafter raiser whether performed with piano alone or with the easy feeling rhythm parts. Did we mention, this anthem swings? Related Scripture: Matthew 5:16; Mark 9:2-13; Acts 6:7.
$40.00
36.23 €
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Thomas A
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Choral Octavo
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I'll Tell It Wherever I Go
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Jubilate Music Group - Digital
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SheetMusicPlus
Plateau of Dances with a Scottish Flavour
Fl. Afl. (guit/kbd) - Intermediate-Advanced - Digital Download SKU: F2.FM628 Compos…
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Fl. Afl. (guit/kbd) - Intermediate-Advanced - Digital Download SKU: F2.FM628 Composed by Alexandra Lehmann. A set of dances for flute and alto flute duet. Score. 6 pages. Forton Music - Digital #FM628. Published by Forton Music - Digital (F2.FM628). ISBN 9790570485277.'Plateau of Dances with a Scottish Flavour' Plateau of Dances with a Scottish Flavour was composed in autumn 2016, Eastbourne, and is inspired by my childhood in Doune, Perthshire; as well as the Ceilidhs and Feis (cultural festival in the Highlands) my daughter, Clara, and I were immersed in when we lived in the picturesque village of Kingussie, Badenoch and Strathspey. The four dances are a celebration of my love and nostalgia for Scotland, and an expression of my family's Scottish memories. Each dance comes with a quote from my favourite poet, Robert Burns, whose insightful and sensitive observations are a poignant appreciation of everyday life. Why the reference to Scottish food? Because this piece is dedicated to my father, Papou, who appreciates a merry supper. The 1st Movement, 'To the Mighty Haggis', is a Strathspey with its characteristic Scotch snap -a short-long rhythm, as if saying the word 'haggis'; which is fitting as the Scottish bard's quote comes from his poem Address to a Haggis, traditionally said on Burns' Night. The 2nd Movement, 'The Humble Shortbread', is a Reel; as is usually the case in Scottish dances. It should be played with a slightly 'snappy', swung rhythm. 'What though on homely fare we dine, [...] A man is a man for all that' comes from my favourite Burns' poem: A Man's a Man for A' That. And who doesn't enjoy the humble shortbread? There is a more reflective, nostalgic mood to the 3rd Movement, 'Ode to the Homely (salty) Porridge'. The Air is a reminiscence of the quiet evenings Clara and I would spend in Kingussie, with our view of the beautifully haunting mountains. 'What will I get to my supper, [...] Ye'se get a panfu' o' plumpin parridge' comes from Burns' The Shepherd's Wife who tries to entice her husband back home with the promise of porridge (the Scottish way: with salt). Finally, the 4th Movement, 'Too Many Drams of Whisky', is a cheerful and lively Jig. It's the convivial merriness of being with friends and family, maybe at a Ceilidh, with a wink to Scotland's 'water of life'. 'We'll tak a cup o' kindness yet, For auld lang syne' comes from Burns' famous Auld Lang Syne: a fitting end to our musical and culinary tour of Scotland.
$7.95
7.2 €
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Alexandra Lehmann
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Plateau of Dances with a Scottish Flavour
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Forton Music - Digital
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SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged …
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Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. Published by jmsgu3 (A0.549196). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 3 trombones, 3 euphoniums & 3 tubas. Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
43.43 €
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Giovvanni Gabrieli
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3 tubas
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Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199…
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Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3458615. Published by jmsgu3 (A0.549199). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 4 oboes, 2 English horns, 2 bassoons, 1 contrabassoon (or 3 bassoons). Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com
$47.95
43.43 €
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Giovanni Gabrieli
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Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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jmsgu3
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SheetMusicPlus
Let It Be
Choral Alto Voice,Bass Voice,Double Bass,Piano and Keyboard,Soprano voice,Tenor Voice,Viol…
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Choral Alto Voice,Bass Voice,Double Bass,Piano and Keyboard,Soprano voice,Tenor Voice,Viola,Violin - Level 3 - Interactive Download SKU: A0.481914 By The Beatles. By John Lennon and Paul McCartney. Arranged by Jeremy Nafziger. This edition: Interactive Download. Christmas. Octavo. Duration 286. Jeremy Nafziger #6Re335EyhndYxZ7ALSuj10. Published by Jeremy Nafziger (A0.481914). Key: C major.The Beatles classic with the Advent hymn, In Dulci Jubilo. Both texts come from dreams, and this winds up a meaningful combination. In Dulci was written in the 14th century by German monk and teacher Heinrich Suso (or Seuse), who writes in his third-person autobiography about a dream he had: Now this same angel came up to the Servant [Suso] brightly, and said that God had sent him down to him, to bring him heavenly joys amid his sufferings; adding that he must cast off all his sorrows from his mind and bear them company, and that he must also dance with them in heavenly fashion. Then they drew the Servant by the hand into the dance, and the youth began a joyous song about the infant Jesus, which runs thus: In dulci jubilo... About 650 years later, in 1968, Paul McCartney was staying out late, drinking too much, and thinking that the Beatles were probably going to break up soon. Then one night, somewhere between deep sleep and insomnia, I had the most comforting dream about my mother, who died when I was only 14. She had been a nurse, my mum, and very hardworking, because she wanted the best for us.... At night when she came home, she would cook, so we didn’t have a lot of time with each other. But she was just a very comforting presence in my life. And when she died, one of the difficulties I had, as the years went by, was that I couldn’t recall her face so easily.... So in this dream twelve years later, my mother appeared, and there was her face, completely clear, particularly her eyes, and she said to me very gently, very reassuringly: “Let it be.†It was lovely. I woke up with a great feeling. It was really like she had visited me at this very difficult point in my life and gave me this message: Be gentle, don’t fight things, just try and go with the flow and it will all work out. His mother's name was Mary, or course. He wrote the song in the next few days, and it was released on the album on the same name in 1970, a month after the Beatles split up. As for the actual texts, they're very different. In Dulci is macaronic (alternating between two languages, in this case Latin and a translation from Medieval German) and ecstatic; Let It Be is English and more subdued. In this version, we alternate between the two but keep the Let It Be structure, except for a diversion in the middle where the well-known Bach setting is adopted as kind of an interlude. The two texts and melodies are sung together in the last verse (the fourth In Dulci verse and the third Let It Be verse), where both are talking about music.
$3.99
3.61 €
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The Beatles
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Let It Be
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Jeremy Nafziger
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SheetMusicPlus
It's Too Late by Carole King - Instrumental Duet
Sheet Music for It's Too Late by Carole King arranged for Instrumental Duet in A Mino…
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Sheet Music for It's Too Late by Carole King arranged for Instrumental Duet in A Minor. Digital sheet music from Musicnotes. --
$5.79
5.24 €
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Instrumental Duet
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Musicnotes
You've Got A Friend
Instrumental Solo,Oboe d'Amore,Piano - Level 3 - Digital Download SKU: A0.547822 By…
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Instrumental Solo,Oboe d'Amore,Piano - Level 3 - Digital Download SKU: A0.547822 By James Taylor. By Carole King. Arranged by James M. Guthrie, ASCAP. Contemporary,Pop. Score and individual part. 9 pages. Jmsgu3 #3056323. Published by jmsgu3 (A0.547822). Carole King: You've Got A Friend arranged for Oboe d'Amore & Piano.Includes solo instrument part.Duration: 5″08″ Score: 7 pages. Part: 2 pages.This is the famous song that made Carole King the first woman to win the GrammyGrand Slam: Record of the Year (It’s Too Late), Album of the Year andBest Female Pop Vocal (Tapestry), and Song of the Year (You’ve Got A Friend).This arrangement is suitable for church, nightclub or recital hall performance.
$67.95
61.54 €
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James Taylor
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Piano
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You've Got A Friend
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jmsgu3
#
SheetMusicPlus
Nature's Dream
Alto Voice,Vocal Solo - Level 2 - Digital Download SKU: A0.1022081 Composed by Bill…
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Alto Voice,Vocal Solo - Level 2 - Digital Download SKU: A0.1022081 Composed by Bill Taylor and Jaye Alison Moscariello, lyrics and Bill Taylor music. Contemporary,Jazz,Sacred. 7 pages. William R Taylor #6475263. Published by William R Taylor (A0.1022081). Nature’s Dream (©2012) – Piano, Vocal, Flute, Soprano Sax, Upright Bass. The first several bars came to me in a 2011 vivid dream in which Paul McCandless was playing soaring soprano sax melodies and Jaye Alison Moscariello was singing lyrics I did not remember from the dream. It was originally in D with some Dad-related chord progressions. This version is in A to better fit the alto voice. After writing 3 verses of rather convoluted lyrics about healing the planet, Jaye helped pare it down to one powerful verse that could be a world anthem. George and Paul play solos during the instrumental break. We think this would make a great national, or international, anthem. This is our planet, the one that we all share Let us remember that all life breathes the air Our world is sacred, its future in our trust And it continues after bodies turn to dust Shall we continue to think we own the beasts? Or know the truth that all of us share the feast? Grow for each other and for the creatures too Plant life and fungi nourish the whole zoo Lessons we’ve learned from species that have passed Transform our ways or we may not last Take time to learn what ancestors teach us Honor the spirit residing in that which feeds us Act for the future of seven generations And together we can share in this dance of life Act for the future of seven generations Act for the welfare of seven generations
$3.99
3.61 €
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Bill Taylor and Jaye Alison Moscariello, lyrics and Bill Taylor music
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Nature's Dream
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William R Taylor
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SheetMusicPlus
Overture “A Midsummer Night's Dream” Op. 21 for Brass Ensemble
Brass Ensemble Bass Trombone,Euphonium,Horn,Piccolo Trumpet,Tuba - Level 4 - Digital Downl…
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Brass Ensemble Bass Trombone,Euphonium,Horn,Piccolo Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1292240 Composed by Felix Bartholdy Mendelssohn. Arranged by Shinya Ishida. 19th Century. Score and Parts. 19 pages. BitNotes.jp #882854. Published by BitNotes.jp (A0.1292240). The Overture A Midsummer Night's Dream is originally composed by the German composer Felix Mendelssohn, who was inspired by reading William Shakespeare's play A Midsummer Night's Dream. It was initially created as a piano piece for duet, intended for enjoyment with his sister Fanny. Notably, Mendelssohn himself later arranged it for orchestra in 1826 when he was just 17 years old.Fast forward 16 years, this piece took an unconventional path to composition. It was commissioned by King Wilhelm IV of Prussia at the time, and the overture became part of a larger work known as Incidental Music, where it was accompanied by other pieces, apart from the overture.The Overture A Midsummer Night's Dream begins with four chords that evoke a gentle breeze, as if beckoning you into the world of fairies, in line with the folklore that claims that on the eve of Midsummer (Walpurgis Night), fairies and witches gather for revelry. It then transitions into the theme of the fairy's fluttering wings, followed by the music of the Fairy King's palace, the lovers' theme, and passages for clowns and hunting scenes. Finally, it returns to the fairies, dancing and disappearing as if carried away by the wind.We have arranged this enchanting piece for a brass ensemble, featuring ten players (3 trumpets, 3 horns, 3 trombones, and 1 tuba). The 1st Trumpet part includes an optional switch to Piccolo Trumpet, but this is purely optional and not mandatory to perform the arrangement.Additionally, please note that the 3rd Trombone part is intended for the Bass Trombone but can also be performed using Euphonium or Tenor Bass Trombone.
$12.00
10.87 €
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Felix Bartholdy Mendelssohn
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Overture “A Midsummer Night's Dream” Op. 21 for Brass Ensemble
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BitNotes.jp
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SheetMusicPlus
Allegories for Flute, Euphonium, and Piano
Euphonium,Flute,Piano - Level 5 - Digital Download SKU: A0.1141957 Composed by Sy B…
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Euphonium,Flute,Piano - Level 5 - Digital Download SKU: A0.1141957 Composed by Sy Brandon. 20th Century,Chamber,Children,Classical. 65 pages. Sy Brandon #742334. Published by Sy Brandon (A0.1141957). “Allegories†is a five-movement composition based upon Aesop’s Fables. It was commissioned by and dedicated to Frank Meredith. The first movement “The Trumpeter Taken Captive†is a fable about how one’s actions affect the outcome. The trumpeter, who incites others to do battle, is as guilty as those who slay the enemy. The euphonium represents the trumpeter by playing battle tunes. Then the ensemble plays capture music, begging music, fatal music representing the slaying of the trumpeter (euphonium), and finally music representing the moral of the story. “The Boy Who Cried Wolf†is the basis for the second movement. The allegory is that nobody believes a liar. The flute plays a shepherd’s tune to represent the bored shepherd boy. The ensemble plays excited music three times as the boy cries wolf, the first two times just to amuse himself. After the third time when nobody responds to his cries, the flute plays a lament to end the movement. The third movement reflects the story of “The Goose That Laid The Golden Egg.†A golden euphonium melody accompanied by rich harmony represents the golden eggs laid by the goose. The ensemble then plays greedy music that is followed by a minor key lament as the farmer has killed his rich source of income because of his greed. A sweet dancing flute solo begins movement four appropriately named “The Fisherman and His Flute.†This short fable has the allegory of “timing is everything.†The poor fisherman expected the fish to jump out of the sea in response to his flute playing to no avail. When the ensemble plays a similar tune, it represents his success when he uses his net. The fisherman says “you bloody fish, when I played the flute you wouldn’t dance, but as soon I stopped, you started up.†The race between the “Tortoise and the Hare†is the subject of the last movement. The plodding euphonium represents the tortoise and the fast and agile flute represents the hare. The flute takes a nap in the middle of the movement and by the time the flute wakes up, it is too late to catch up with the slow and steady tortoise. The race is not always to the swift.
$14.99
13.58 €
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Sy Brandon
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Allegories for Flute, Euphonium, and Piano
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Sy Brandon
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SheetMusicPlus
Allegories for Flute, Euphonium, and Percussion
Euphonium,Flute,Percussion - Level 5 - Digital Download SKU: A0.1141962 Composed by…
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Euphonium,Flute,Percussion - Level 5 - Digital Download SKU: A0.1141962 Composed by Sy Brandon. 20th Century,Chamber,Children,Classical. 63 pages. Sy Brandon #742339. Published by Sy Brandon (A0.1141962). “Allegories†is a five-movement composition based upon Aesop’s Fables. It was commissioned by and dedicated to Frank Meredith. The first movement “The Trumpeter Taken Captive†is a fable about how one’s actions affect the outcome. The trumpeter, who incites others to do battle, is as guilty as those who slay the enemy. The euphonium represents the trumpeter by playing battle tunes. Then the ensemble plays capture music, begging music, fatal music representing the slaying of the trumpeter (euphonium), and finally music representing the moral of the story. “The Boy Who Cried Wolf†is the basis for the second movement. The allegory is that nobody believes a liar. The flute plays a shepherd’s tune to represent the bored shepherd boy. The ensemble plays excited music three times as the boy cries wolf, the first two times just to amuse himself. After the third time when nobody responds to his cries, the flute plays a lament to end the movement. The third movement reflects the story of “The Goose That Laid The Golden Egg.†A golden euphonium melody accompanied by rich harmony represents the golden eggs laid by the goose. The ensemble then plays greedy music that is followed by a minor key lament as the farmer has killed his rich source of income because of his greed. A sweet dancing flute solo begins movement four appropriately named “The Fisherman and His Flute.†This short fable has the allegory of “timing is everything.†The poor fisherman expected the fish to jump out of the sea in response to his flute playing to no avail. When the ensemble plays a similar tune, it represents his success when he uses his net. The fisherman says “you bloody fish, when I played the flute you wouldn’t dance, but as soon I stopped, you started up.†The race between the “Tortoise and the Hare†is the subject of the last movement. The plodding euphonium represents the tortoise and the fast and agile flute represents the hare. The flute takes a nap in the middle of the movement and by the time the flute wakes up, it is too late to catch up with the slow and steady tortoise. The race is not always to the swift.
$14.99
13.58 €
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Sy Brandon
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Allegories for Flute, Euphonium, and Percussion
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Sy Brandon
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SheetMusicPlus
The Daedalus and Icarus Journey
Instrumental Duet Guitar,Instrumental Duet,Voice - Digital Download SKU: A0.942097 …
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Instrumental Duet Guitar,Instrumental Duet,Voice - Digital Download SKU: A0.942097 Composed by Apostolos Paraskevas. 20th Century,Contemporary,Romantic Period,World. Score and parts. 11 pages. Silver Sickle Publications #6104711. Published by Silver Sickle Publications (A0.942097). This guitar and vocal work were originally set on the Robert Frost poem ‘Stopping by Woods on a Snowy Evening’, and was written for a lecture series at Boston University given by Lukas Foss entitled ‘Words on Music. Some years later I set out to publish the work and found that the estate of the late R. Frost frowned upon this particular practice and after a second failed attempt to get permission to publish the work, I decided to write my own verse for this composition (my first actually) and use a subject familiar to me, the story of Daedalus and Icarus Journey to freedom.After his arrival in Crete, Daedalus found that Minos would not let him leave. He subsequently obtained wax and feathers and fashioned wings for himself and his son Icarus. With these they succeeded in flying away, but Icarus, flying too near to the sun, melted his wings, fell into the sea near Crete, and drowned; Daedalus escaped to Italy only to fall into the hands of the local King Kokalos who drowned him in hot water. The Daedalus and Icarus JourneyEscape from here is what I’ll doI have a plan I thought it throughThe waves beneath us deadly wildI’ll fly up high, it’s just the sky That was a dreadful thing to sayTo fly so high, you can’t survive.Your wings, your soul and frozen smile,The sun will burn and you will die. The Death you seek I am sure you’ll get,He’s there for you he won’t forget.He will be fast and kind with you,If He survived why not you too? It’s time to go the sky gets blueMy mind will be so close to youYou cannot scare me I have to try,The time is right, let’s say goodbye. Text by Apostolos Paraskevas
$8.99
8.14 €
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Apostolos Paraskevas
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The Daedalus and Icarus Journey
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Silver Sickle Publications
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SheetMusicPlus
If Not Now, When?
Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - Digital Downloa…
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Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - Digital Download SKU: A0.841258 Composed by Chris Gordon. 20th Century. Score and parts. 39 pages. Cool Wind Music Digital #3056419. Published by Cool Wind Music Digital (A0.841258). Full set of parts: Please contact Chris Gordon at the email address on the first page of music for details.IF NOT NOW, WHEN? If Not Now, When? gets its title from the novel by Primo Levi, the Italian author who both survived life in Auschwitz and fought the continued German military presence in Italy with the Resistance after the Italian surrender to the Allies in September 1943. Levi meant that revolution and the overthrow of tyranny should never be 'put off until tomorrow'. If you believe you are on the side of right, then 'seize the day'- tomorrow may be too late. The inspiration for INNW? grew from research I was doing into an early song by Alban Berg called An Leukon which Berg wrote in 1907 while a student of Arnold Schoenberg. In delving into the kind of world which Berg inhabited in the Vienna of 100 years ago, I was fascinated by the café culture* which played a pivotal role in the lives of most artists: not only composers, but also writers, painters, architects and journalists. They swirled around the fashionable 'watering holes' sucking up current thoughts and ideas, high on Viennese coffee, cigar smoke and idealism! I envisaged a play which tried to encapsulate all this and wrote a few scenes with characters such as Schoenberg, Berg, Webern, Steuermann, Pisk, Kraus, Gropius and Altenberg heatedly discussing music, art and poetry over large cups of milky coffee. This grew into the framework for INNW? which, to paraphrase Pirandello's play about characters seeking an author, is a 'play without words in several scenes'. The piece is organised into 8 short movements or 'scenes' showing the 'Schoenberg cirle' sharing their radical and daring ideas and the shock or delight (or both simultaneously) with which those ideas are greeted. The first, which happens to be the longest, is rooted in conventional tonality. It begins with a fanfare in D flat major ('aux armes, citoyens!'), then seeks a 'freer' tonality by means of the 'emancipation of the semitone' only to capitulate in the central section and, finally, to 'fall back to earth' by winding down in G sharp minor. These 'scenes' are not meant to represent particular composers. They are, however, meant to represent the kinds of directions in which music could progress, given the 'breakdown' or 'stretching to its limits' of traditional harmony which had occurred in the previous 10 to 20 years. So many ways forward were promulgated, with one after another extraordinary, and often unexpected, futuristic musical panoramas glimpsed momentarily. My aim is to demonstrate which directions they decided they could head in having cleared the 'overgrown' path before them. * I even discovered that, around this time, in the Café Central, a certain Leon (Lev) Bronstein, otherwise known as Leon Trotsky, banished by the Okhrana (Imperial secrect police) from his native Russia, would spend all day in a back room playing chess. How delicious, I thought, if Schoenberg had ever brushed passed Trotsky or, indeed, had ever spoken to him: the one planning political and the other musical revolution!
$25.00
22.64 €
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Chris Gordon
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If Not Now, When?
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Cool Wind Music Digital
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SheetMusicPlus
Search Me, Lord
Choir Sacred Instrumental Ensemble - Digital Download SKU: JX.00-36820 Composed by …
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Choir Sacred Instrumental Ensemble - Digital Download SKU: JX.00-36820 Composed by Thomas A. Dorsey. Arranged by Joel Raney. This edition: InstruPax. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Alfred SingPraise Series. Gospel; Sacred. Part(s). 30 pages. Jubilate Music Group - Digital #00-36820. Published by Jubilate Music Group - Digital (JX.00-36820). English.Thomas A. Dorsey meets Joel Raney . . . does it get any better than this? Together they present a Gospel celebration that refuses to stop swinging. The optional accompaniment track is great fun, but the anthem is wonderful with Raney's brilliant piano accompaniment too. In fact, try it both ways! Give yourself, your choir, your congregation (and your pastor) a treat . . . offer them this truly special worship experience. Related scripture: Psalm 26:2; Psalm 139.
$40.00
36.23 €
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Thomas A
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Choral Octavo
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Search Me, Lord
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Jubilate Music Group - Digital
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SheetMusicPlus
Seranade Melancolique
Large Ensemble Violin - Level 3 - Digital Download SKU: A0.870377 Composed by Peter…
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Large Ensemble Violin - Level 3 - Digital Download SKU: A0.870377 Composed by Peter Ilitch Tschaikowsky. Arranged by Randy A. Steinberg. Romantic Period. Score and parts. 96 pages. Randy A. Steinberg #1910241. Published by Randy A. Steinberg (A0.870377). This work was originally written for violin and orchestra by Tchaikovsky in 1875. The Hungarian violinist Leopold Auer had been professor of violin at the Imperial Conservatory in St Petersburg while Tchaikovsky was a professor at the Moscow Conservatory. Both met at a reception that year and Tchaikovsky quickly wrote this work as a dedication to Auer. During a later fallout with Auer, Tchaikovsky tried to remove the dedication but too late, it was already in print. This work has been recorded many times with either orchestra or piano. It is presented here, for the first time, in a setting for Concert Band. An unusual arrangement in that pieces for Concert Band and Violin are rare, this makes a nice addition to any concert setting bringing an unusual work of Tchaikovsky’s to wind players. 2016 Arrangement New Release.
$24.99
22.63 €
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Peter Ilitch Tschaikowsky
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Seranade Melancolique
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Randy A. Steinberg
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SheetMusicPlus
When You Say Nothing At All
Guitar Ensemble Guitar - Level 3 - Digital Download SKU: A0.797826 By Keith Whitley…
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Guitar Ensemble Guitar - Level 3 - Digital Download SKU: A0.797826 By Keith Whitley. By Don Schlitz and Paul Overstreet. Arranged by Derek Hasted. Contemporary,Pop. Score and parts. 20 pages. Derek Hasted #6414637. Published by Derek Hasted (A0.797826). WHEN YOU SAY NOTHING AT ALL - GUITAR TRIO with OPTIONAL BASS PARTFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar. Derek Hasted writes This lovely melody, first made famous by Alison Krauss, and more recently by Ronan Keating, makes a delightful concert piece for guitars.My arrangement is based on Ronan Keating’s version, where the distinctive guitar accompaniment is a little different to Alison’s original. The music doesn’t have the slow fade-out of Keating’s piece - it’s not that easy for a guitar ensemble on stage to emulate that! Besides - the fade-out in Keating’s version is lots of repeated notes sung with different syllables - on the guitar it loses any sense of variety.But this arrangement does have all the rest of the thematic material, including the strange but seldom noticed fact that verse two is one measure shorter than verse one. A lot of the vocal countermelodies are here too.The optional fourth part is suitable for novice guitar, for bass or acoustic guitar or for pizzicato double bass, and is included in both treble and bass clefs. But this arrangement works fine with just three guitars too...The key is the same as Keating’s version and includes the rather lovely key changes - both seem to go up slightly in pitch, yet the second key change actually returns back to the starting key.I hope you enjoy performing this!
$4.99
4.52 €
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Keith Whitley
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When You Say Nothing At All
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Derek Hasted
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SheetMusicPlus
They'll Be on the Rock This Christmas
Accordion,Drum Set,Electric Bass Guitar,Piano Accompaniment - Level 3 - Digital Download
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Accordion,Drum Set,Electric Bass Guitar,Piano Accompaniment - Level 3 - Digital Download SKU: A0.1105243 By David Kai. By David Kai. Arranged by David Kai. Celtic,Country,Folk,Irish. Full Performance. Duration 228. David Kai #708503. Published by David Kai (A0.1105243). A Newfoundland Christmas song about wishing to be back home for Christmas. THEY’LL BE ON THE ROCK THIS CHRISTMAS words and music by David Kai ©1997 They’ll come from far as Whitehorse and as close as Sydney Mines, They’re packing up their suitcases and their boxes tied with twine, They’re getting on those airplanes, Dash 8s and DC 9s, Driving to the ferry docks and they’re waiting there in line. And they'll be on the Rock this Christmas, where stars shine twice as bright, They'll be on the Rock this Christmas, greeting mummers every night, Yarning ‘round the wood stove, eating partridgeberry pie, And I’ll be wondering “Why, oh why aren’t I?†‘Cause I’ll be in the factory, pulling double overtime, No one wants the Christmas shift so I guess that makes it mine, Late tonight I’ll light a candle in my lonely room, And think of those who are traveling home, ‘cause I know that very soon, That they'll be on the Rock this Christmas, where stars shine twice as bright, Yeah, they'll be on the Rock this Christmas, greeting mummers every night, Yarning ‘round the wood stove eating partridgeberry pie, And I’ll be wondering “Why, oh why aren’t I?†I’ve got to get there somehow, this poor soul’s just too homesick, My busted car won’t take me far, but my thumb will do the trick. I’ll call the boss from Port aux Basques, hope he’s in the mood to see, ‘Though I may choose to leave the Rock, it’s the Rock that won’t leave me. And I'll be on the Rock this Christmas, where stars shine twice as bright, Yeah, I'll be on the Rock this Christmas, greeting mummers every night, Yarning ‘round the wood stove, eating partridgeberry pie, And no more wondering “Why, oh why aren’t I?†Optional extra chorus: And we'll be on the Rock this Christmas, where stars shine twice as bright, Yeah, we'll be on the Rock this Christmas, greeting mummers every night, Yarning ‘round the wood stove, eating partridgeberry pie, And no more wondering “Why, oh why aren’t I?†Tag: No, no more wondering “Why, oh why aren’t I?â€.
$1.99
1.8 €
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David Kai
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They'll Be on the Rock This Christmas
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David Kai
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SheetMusicPlus
When I'm Sixty-four
Instrumental Duet English Horn,Instrumental Duet,Oboe - Level 3 - Digital Download SKU:…
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Instrumental Duet English Horn,Instrumental Duet,Oboe - Level 3 - Digital Download SKU: A0.588144 By The Beatles. By John Lennon, John Winston Lennon, Paul James Mccartney, and Paul McCartney. Arranged by David McKeown. Rock. Score and parts. 5 pages. David McKeown #5306107. Published by David McKeown (A0.588144). When I’m Sixty-Four first appeared on the Beatles’ 1967 album, Sgt. Pepper’s Lonely Hearts Club Band. Despite the song’s appearance relatively late in the Beatles’ discography, it was one of the first songs that Paul McCartney wrote, at the age of 16. When the song was finally recorded in 1966, Paul McCartney felt it was too slow and turgid. George Martin simply solved the problem by speeding up the tape and raising the pitch by one semitone. This version of When I’m Sixty-Four is arranged as a duet for one Oboe and one Cor Anglais. The full YouTube performance above is the Clarinet version of this duet.Musicians at an intermediate level will find this ideal for formal and informal concert performance. The overall performance time is around two and a half minutes. Teachers will enjoy using this arrangement as a fun way to help with ensemble skills and expressive playing. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$5.99
5.43 €
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The Beatles
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When I'm Sixty-four
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David McKeown
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SheetMusicPlus
Do You Remember Piano Vocal Performance
Piano,Voice - Digital Download SKU: A0.1069971 Composed by Steven H. Boothe. Arrang…
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Piano,Voice - Digital Download SKU: A0.1069971 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Christian,Pop,Sacred. Full Performance. Duration 150. Boothe Publishing #4633709. Published by Boothe Publishing (A0.1069971). When I was little I used to sit on Mom's lap while she read me Bible stories. We would read them and look at the pictures and then I had a lot of questions. I remember in particular once picture of Herod's soldiers killing little babies in Bethlehem. I was horrified by what I saw. They were trying to kill the baby Jesus by killing every child that could possibly be Him. The discussions I had with my mom in those formative years helped mold me into the person I am today. I treasure those moments.... I still remember them.... do you? It's never too late to start the tradition of reading and talking together.
$1.99
1.8 €
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Steven H
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Do You Remember Piano Vocal Performance
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Boothe Publishing
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SheetMusicPlus
Do You Remember Guitar Minus Vocal
Guitar - Digital Download SKU: A0.1069952 Composed by Steven H. Boothe. Christian,P…
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Guitar - Digital Download SKU: A0.1069952 Composed by Steven H. Boothe. Christian,Pop,Sacred. Accompaniment. Duration 153. Boothe Publishing #4633637. Published by Boothe Publishing (A0.1069952). When I was little I used to sit on Mom's lap while she read me Bible stories. We would read them and look at the pictures and then I had a lot of questions. I remember in particular once picture of Herod's soldiers killing little babies in Bethlehem. I was horrified by what I saw. They were trying to kill the baby Jesus by killing every child that could possibly be Him. The discussions I had with my mom in those formative years helped mold me into the person I am today. I treasure those moments.... I still remember them.... do you? It's never too late to start the tradition of reading and talking together.
$1.99
1.8 €
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Steven H
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Do You Remember Guitar Minus Vocal
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Boothe Publishing
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SheetMusicPlus
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