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You've selected:
Right Where You Left Me
Sheetmusic to print
5 sheet music found
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1
Right Where You Left Me
String Ensemble Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.127…
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String Ensemble Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.1273565 By Taylor Swift. By Aaron Dessner and Taylor Swift. Arranged by Danielle Tavolacci. Country,Folk,Pop. 26 pages. Danielle Tavolacci #865706. Published by Danielle Tavolacci (A0.1273565). Arranged for String Quartet or String Orchestra. There is optional double bass pizz part but the bassline notes are represented in the cello part as well.
$12.99
11.93 €
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Taylor Swift
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Right Where You Left Me
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Danielle Tavolacci
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SheetMusicPlus
Take Me Home, Country Roads
Guitar Ensemble Guitar - Level 2 - Digital Download SKU: A0.851213 By John Denver. …
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Guitar Ensemble Guitar - Level 2 - Digital Download SKU: A0.851213 By John Denver. By Bill Danoff, John Denver, and Taffy Nivert. Arranged by Dan Jones www.danjonesguitarist.com. Rock. Score and parts. 34 pages. DanJonesGuitarist #6700853. Published by DanJonesGuitarist (A0.851213). Take Me Home, Country Roads - As sung by John Denver Arranged for Easy Guitar Quartet by Dan Jones www.danjonesguitarist.com In response to feedback from guitar teachers, a single download contains: · A full score in notes and TAB · A full score in notes only · All parts in notes and TAB · All parts in notes only This arrangement is designed to be flexible and to suit a range of abilities. The standard is suitable for early-intermediate players, with guitar 3 being playable by first year students. Guitar four has an easy right-hand picking pattern, with chord symbols provided for assistance, or for those who wish to accompany by strumming chords.Left hand fingering is provided within the parts where appropriate. A YouTube video link will be added to this page in mid-February 2022.Take Me Home, Country Roads is John Denver’s beautiful, iconic song, released in 1971. It became certified platinum in 2017 with a new generation of listeners enjoying digital downloads. The song inspires feelings of nostalgia and longing in the listener and is a firm favourite of travellers around the world, from wherever they come. John Denver was a brilliant songwriter, activist and poet. He died in 1997 in a flying accident at the age of just 53. For a huge range of music for guitar solo, guitar ensemble, writings and teaching material, please visit www.danjonesguitarist.com
$9.95
9.14 €
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John Denver
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Take Me Home, Country Roads
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DanJonesGuitarist
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SheetMusicPlus
Stabat Mater - string ensemble parts
Small Ensemble - Level 4 - Digital Download SKU: A0.1195919 Composed by Annemieke L…
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Small Ensemble - Level 4 - Digital Download SKU: A0.1195919 Composed by Annemieke Lustenhouwer. Contemporary. Score and parts. 80 pages. Annemieke Lustenhouwer #795094. Published by Annemieke Lustenhouwer (A0.1195919). What happens when you close your eyes and you see yourself standing next to Mother Mary when Jesus dies? What do you see and what do you feel? That was what I’ve been asking myself for years when I read the text Stabat Mater. This composition tells about this experience and this questions. Sometimes a motif tells quite literally about this story, like the moment when Jesus is nailed down the cross: first the right hand, then the left hand and finaly with one nail both feet. In the first part of the composition, the viola tells with sforzato accents about this.This Stabat Mater is not only an expression of the pain of the Virgin Mother, but is also a tribute to JS Bach as well. Bach is by some seen as a fith evangelist. Nowadays there are still a lot of people who are affected by how his music tells about biblical stories, like I am. In this Stabat Mater I use the number 5 to express that: the first part is written in 5/4th and the last part Quando corpus et Amen is written with 5 parts in the choir. There can also be found a reworked choral in the choir passages of  O quam tristis et afflicta. It is the choral Wie nahe mir mein Ende from BWV 166.Polyfony is a returning presence in this Stabat Mater. I had an visual idea about this. When I was young I saw in an exhibition a tapestry with all kinds of colours and threads, and everything felt in motion. It was a kind of organized mess, but it was beautiful and felt perfect. I wondered if I could manage to express this idea in music as well. Under one of the polyphonic passages there is a Latin-American dance rhythm to express that motion. I heard that rhythm in my childhood in a rhythmbox of the keyboard of my dad. Another passage has the baroque sarabande-rhythme underneath in the double bass.A lullaby-feeling in some parts of the Stabat Mater tells about another story that got intertwined with this composition. It’s the story of a mother who rocks her terminal dying little son in her arms. I once read that story and it felt connected with the Stabat Mater text for a long time. I decided to express that as well.This composition is dedicated to the Dutch conductor Geert van den Dungen. However I saw many conductors, while playing the oboe and clarinet from a young age, there was nobody who let me think very deeply about music. Geert was the one who changed that for me. I started to study scores and developed a great interest in music analysis and music psychology. Many moments of inspiration and understanding for this Stabat Mater happened on choir rehearsals and concerts where Geert was working. I am very grateful for that.String parts only, see for conductors/ choir score Sheet Music plus and Sheet music direct.
$19.00
17.45 €
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Annemieke Lustenhouwer
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Stabat Mater - string ensemble parts
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Annemieke Lustenhouwer
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SheetMusicPlus
Playing with Scales
Guitar - Level 2 - Digital Download SKU: A0.1314698 Composed by Richard Hirsch. Ins…
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Guitar - Level 2 - Digital Download SKU: A0.1314698 Composed by Richard Hirsch. Instructional. Educational Exercises. 8 pages. Richard Hirsch #903442. Published by Richard Hirsch (A0.1314698). Many amateur guitarists and beginning students of guitar are ‘stuck in the first position’. The rest of the fretboard is ‘terra incognita’. They don’t know where the notes are and they don’t know how to get to them and use them in playing melodies. To help remedy this situation, I offer a collection of scales and exercises I have developed over the years that have helped me master the fretboard of the guitar and that I have used to warm up my left and right hands before practicing or playing proper pieces. Guitarists afraid to move up the fretboard miss out on all the tonal nuances that the guitar has to offer. They also often have undeveloped left hand technique with a little finger that flies around helplessly and uselessly. These scales and exercises will, if played regularly, put the little finger to good use and guide the left hand to orient to the fretboard properly, staying close to the fretboard with fingers that move as little and as efficiently as possible. They are also relaxing and fun to play around with. I read somewhere a while back that medical science had found that pianists were less likely to develop brain diseases. The scientists attributed this to the many hours pianists spend playing scales, as this is like a gentle brain massage. So scales are not only good warm up exercises for the fingers but also good warm-ups for the brain.The scale exercises written here in the keys of G and C should be played in different keys in higher positions on the fretboard. Students can try to see just how far up the neck they can go to reach the highest notes. After a while, what seemed challenging and strange will start to feel comfortable and familiar. Don’t hesitate to develop new variants of the scales when you grow tired of playing them as I propose here. Have fun playing and playing with the scales!The exercises often start in one position and move toward other higher or lower positions on the fretboard. When moving from one position to another, follow the suggested fingerings to utilise what is called a lead finger to move the hand to the next position. This will make the movement smooth and not interrupt the flow of the scale. In the end all movement should look and feel seamless and effortless.I have chosen scales in major keys I think are particularly good to play on the guitar. To practice a scale in a minor key, start the exercise in the related major key from the fundamental of the minor key, for example, to play an E minor scale start the G major exercise on an E and play from there. This is one way of creating new variants of these scales. Another way to vary the exercises is to play the scales in different time signatures or rhythms.I believe these exercises are particularly helpful for amateur guitarists who play in ensembles of different kinds, duos, trios, quartets, where the guitarist often only has one melodic line to play. Such melodies often sound much better played in higher positions where the guitar can be made to sing, rather than in the first position where the same tones, especially on open strings, often sound rather dull. From my own experience, I find that when I play a melody in a higher position using all the fingers of the left hand, the melody not only sounds better, the fingers remember the melody better.Â
$4.99
4.58 €
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Richard Hirsch
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Playing with Scales
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Richard Hirsch
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SheetMusicPlus
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