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Skin Thin
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16 sheet music found
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1
Think on for alto recorder and guitar
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Contemporary
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David Warin Solomons
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Think on for alto recorder and
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David Warin Solomons
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SheetMusicPlus
Instrumental Duet Alto Recorder,Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.576906 Composed by David Warin Solomons. 20th Century,Conte...
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Instrumental Duet Alto Recorder,Guitar,Instrumental Duet - Level 3 - Digital Download SKU: A0.576906 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 8 pages. David Warin Solomons #512595. Published by David Warin Solomons (A0.576906). Instrumental arrangement of my song A latter-day Ronsard which is effectively a modern sonnet to a young lady, exhorting her to make the most of her youth (gather ye rosebuds while ye may). The pdf file contains the score and parts. The audio sample is an electronic preview The words of the original song (also available on this site) are: If you but think, Think on and on My little one. If you but think It will go on ... Going for ever, This time of love This time for lovers, You’re for a fall, My little girl, You’re for a fall If you maintain You will retain Fine blushing skin And waist cinched in Delicate arms Fine varnished nails Tender of thigh And fleet of foot, And if you think my sweet It will be true Going for you You're for a fall My little girl, You're for a fall. Gone the good days, Pleasure and holidays. Planets in orbit Circle around But you my sweet You will go straight Toward the unknown And overblown with sagging skin and treble chin Heavy with fat and flesh that's slack Come gather ye roses Look ye around, My little one Blossoms abound Let them repose On the slack tide Of every happiness. So, gather them all Or you'll be sure Pride comes before a fall.
$8.00
The elephant (Never forget the elephant and he won't forget you) (mp3)
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David Warin Solomons
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Lorin Nelson
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The elephant
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David Warin Solomons
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SheetMusicPlus
Alto Voice,Multi-Percussion - Digital Download SKU: A0.1059521 Composed by David Warin Solomons. Arranged by Lorin Nelson. 20th Century,Children,Contempo...
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Alto Voice,Multi-Percussion - Digital Download SKU: A0.1059521 Composed by David Warin Solomons. Arranged by Lorin Nelson. 20th Century,Children,Contemporary. Full Performance. Duration 123. David Warin Solomons #3397205. Published by David Warin Solomons (A0.1059521). A song in honour of the elephant, with a countertenor, a whole chorus of elephants and a band.The elephant has a wrinkly skin This nose is thick and his tail is thin Never forget the elephant and he won't forget you you you The elephant has a very loud song His tail is small and his nose is long Never forget the elephant and he won't forget you you you The elephant lives in a herd His tail is cute but his nose absurd Never forget the elephant and he won't forget you you you The elephant is brave they say His tail will swish and his nose will spray Never forget the elephant and he won't forget you you you The elephant has a sense of fun His tail stands still but his nose takes your bun Never forget the elephant and he won't forget you you you The elephant has floppy ears And he's been around for years and years So never forget the elephant and he won't forget you you you
$2.00
Mediterraneo - Score Only
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Alicia DomÃnguez Arcos Sona
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Alicia DomÃnguez Arcos
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serious (Dum) and acute (Tek)
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Mediterraneo - Score Only
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Alicia Dominguez
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SheetMusicPlus
Level 2 - Digital Download SKU: A0.1372693 By Alicia DomÃnguez Arcos Sonay. By Joan Manuel Serrat. Arranged by Alicia DomÃnguez Arcos. Film/TV,Mult...
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Level 2 - Digital Download SKU: A0.1372693 By Alicia DomÃnguez Arcos Sonay. By Joan Manuel Serrat. Arranged by Alicia DomÃnguez Arcos. Film/TV,Multicultural,Pop,Praise & Worship,Singer/Songwriter,World. 30 pages. Alicia Dominguez #957004. Published by Alicia Dominguez (A0.1372693). In these 112 measures for the twinning of Istanbul-Algeciras I have wanted to incorporate concepts from both parties, with the respect that the composition of Don Joan Manuel Serrat deserves in which in 1970 he sang “Mare Nostrum†(Nostrum mare more correctly in Latin classic, being one of the popular anthems of Spain and therefore a cultural heritage. Therefore it can be used instrumentally or if required, there is a number in the score of which, although the guitar has a melody and one of the choral voices, with two guitars, or make two choral voices or join with your own melody, use both bowed string instruments and plucked strings, etc.Likewise, there are two voices, of which a single voice can use the phrasings of both one voice and the other, giving it its own personality.The tempo will be whatever the interpretation itself wants, much slower, without accelerating so much between the beginning and the moment of the song itself. I have incorporated some instruments into the arrangement as examples:Buzukibouzouki, like the sazturco and the Lebanese Buzuq, which belong to the same family of Buzuki instruments.And as percussion only percussion The Turkish Darbuka is a percussion musical instrument The Turkish Darbuka is a percussion musical instrument from Turkey. The Turkish Darbuka have a high range of low and high resonant tones that sound between the two registers; serious (Dum) and acute (Tek). The edge or lip allows for finger breaking techniques that are not possible in the Egyptian Darbuka.And the Tombak, also called Dombak Ozarb, is a chalice-shaped drum, traditionally built with a hollowed-out biker or walnut trunk covered with skin at one end.With the beginning and among the work itself I wanted to give place to the Bashraf (Turkish Pesrev and Persian Pishraw, which means Overture) and the Sama'i (Turkish Sam Semai) Instrumental genre that is used in the Turkish court and in Sufi music . They were introduced into the Arab world before the 19th century.And also give place in his forms to the Ottoman composer Ismail Hakkibei (1866-1927). Unite Serrat with Hakkibey with this Istanbul-Algeciras work.Although the Bashraf is always made up of four points, Khanat (Plural Dekhana) or Hanne in Turkish, which are always followed by a chorus (Taslim / Teslim), its structure being Khana 1+ Taslim, Khana 2, Khana 3+ Taslim, Khana 4 + Taslim.The fragments must be incorporated since the main base is the Mediterranean pop theme. For this reason, its original rhythm is the Defâhte (In Arabic, Faakhito Fahitah Turki. Being a 20/4 time signature subdivided into 5 sub-groups of 4/4 where the complete cycle coincides with the phrases of the theme. Without forgetting that in music Arabic with the oriental rhythm Lsaada Duyukde 8/8 making a cycle for each measure of 4/4, that is, cycles per phrase, if those written for Western reading in 4/4 with double durations and simplicity. Unit of time: quarter note , coincides in two phrases of 5 measures per staff for a better understanding of the form of the piece, also within a written Arabic version of the theme the unit of time is eighth note 8/8 in G, but it had to be incorporated into Mediterráneo and it is always It is more feasible to think of the human voice as being more limited than instrumentation such as flute, plucked leather instruments, and bowed string instruments.Instrumentation:FluteGuitar 1 (1st voice melody)Guitar 2 (2nd voice melody)Bass (accompaniment and chords)BuzukiSazDarbukaTombakVoice 1st2nd voiceSMATB Voices1st violin2nd violinViolaCellosDouble basses.
$9.00
Popular Orchestral Excerpt Etudes For Double Bass: Expanded Ensemble Packet
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Andrew Cody Williams and Jeff
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Popular Orchestral Excerpt Etu
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Andrew Cody Williams
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SheetMusicPlus
Double Bass - Digital Download SKU: A0.1314900 Composed by Andrew Cody Williams and Jeff Bradetich. Classical,Instructional. Educational Exercises. 100 p...
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Double Bass - Digital Download SKU: A0.1314900 Composed by Andrew Cody Williams and Jeff Bradetich. Classical,Instructional. Educational Exercises. 100 pages. Andrew Cody Williams #903659. Published by Andrew Cody Williams (A0.1314900). THIS IS NOT THE STANDARD PACKET. Within the Expanded Ensemble Packet, parts 3 and 4 expand on the accompaniment. While they are not needed for performance, they do fill spaces and provide more to the ensemble musically to create a trio or quartet. A score is also included“Popular Orchestral Excerpt Etudes For Double Bass†is a collection of 9 etudes written by Andrew Cody Williams and Jeff Bradetich from the pedagogical analysis of some of the most common orchestral excerpts in double bass repertoire including Beethoven Symphony 5 Scherzo and Trio, Brahms Symphony 2, Mahler Symphony 2, Mozart Symphony 40, Bach Orchestral Suite 2 Badinerie, Strauss Ein Heldenleben, Schubert Symphony 9 “Greatâ€, and Mendelssohn Symphony 4. Before you buy, try the FREE DEMO PACKET by contacting ExcerptEtudesBass@gmail.comThe focus of these excerpt etudes is as follows:Sequential Instruction- Taking a challenge one step at a time creates a manageable challenge without becoming overwhelmed. When a student meets successful attempt after successful attempt while gradually increasing difficulty, they are motivated to learn and are less likely to reinforce unwanted outcomes.Context- Practicing anything without understanding where it fits in the bigger picture is asking for failure. Accompanying parts to the etudes have been written to assist the learner through tempo consistency, performing other instrumental parts, and expanding beyond the provided excerpt.Ensemble- Performing with others improves intonation and listening, constructive teamwork, and can be a lot of fun. Four bass parts have been written for the etude in a layered accompaniment to keep the size of the ensemble flexible. Within the Standard Packet, part 1 is the etude itself, taking sections of the excerpts and practicing them in different ways to improve the original excerpt. Part 2 provides the most important accompanying music, allowing the etude to be practiced and performed with just two players. This is especially useful in private lessons, as the teacher can accompany the student as they wish. Within the Expanded Ensemble Packet, parts 3 and 4 expand on the accompaniment. While they are not needed for performance, they do fill spaces and provide more to the ensemble musically to create a trio or quartet. Other resources are provided within the excerpt etudes as well. A score is included in the Expanded Ensemble Packet with all four parts to allow easy comparison and study of each etude. The original excerpts are included in the Standard Packet as well, allowing the student to actively see where each rehearsal letter practice section derives from. An analysis of each rehearsal letter is offered defining the problem in question, as well as a practice solution and occasional extra tips. Finally, a difficulty rating sheet is provided to approximate the difficulty of each part.
$5.00
OF LIGHT AND SHADOW (A NEW YEAR)
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Contemporary
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Monica Bergo
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OF LIGHT AND SHADOW
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Moni Bergo
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SheetMusicPlus
Small Ensemble Drums,Flute,Piano,Violin - Digital Download SKU: A0.1012752 Composed by Monica Bergo. Contemporary. Score and parts. 37 pages. Moni Bergo ...
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Small Ensemble Drums,Flute,Piano,Violin - Digital Download SKU: A0.1012752 Composed by Monica Bergo. Contemporary. Score and parts. 37 pages. Moni Bergo #5743757. Published by Moni Bergo (A0.1012752). Music and song composed by meOF LIGHT AND SHADOW (A new year) Lights that shine On these days of mine Shadows that kill My enthusiasm but there is A whole journey that has been written for me Like a novel, its plot will unveil Another year on me And new days to be invented Find out what will happen It's a good reason to fight The light will illuminate me Or there will be new pain Find out what will happen It's a good reason to stay And I always run so strong For fear of falling Maybe this year I will learn How to do walk And I never slow down my pace Back I can not come back Because I would meet myself And inside me I should look I will fill with light and shadow This my eternal emptiness That I can not placate A thousand songs I will invent If there will be someone who will want to listen In connection with the world singing of fairies, magicians, elves, witches and intrigues always uncomfortable in my time looking for a place, a role in this year new I know that nothing will change yet Of light and shadow I will live I steal from the moon her mysteries I will give them to the sun In exchange for the eternal heat in the heart And like a witch burning at the stake I fire, I melt And born again And the alignment of Jupiter in Pluto The lunar eclipse gives me protection I wish the night would go down fast When my pain never finds peace I wish the sun would shine forever In every season, summer and winter A new year here Before me I mess up his days The gray of November With the warmth of September with lights and shadows I will confuse I will steal the sun in June and my Christmas will heat up and the January ice at Easter I will donate I will confuse the night and the day always mistress of my time in that mirror I will look happy with what I will see and new trips and experiences and emotions on the skin I will live with joy and intensity the light and the shadow that will come how many smiles on my lips will form new wrinkles happy with my age it's a nice finish line to be here and how many tears again will come down on my face will be joy or pain of light and shadow I will live It will be a new year of joys and sorrows of light and shadow of cold and heat ... .. Monica Bergo
$5.00
Heavy Metal for Balinese gamelan and chamber ensemble
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Christine Southworth
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Heavy Metal for Balinese gamel
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Airplane Ears Music
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SheetMusicPlus
Small Ensemble Bass Guitar,Violin - Level 4 - Digital Download SKU: A0.1013048 Composed by Christine Southworth. Contemporary,World. Score and parts. 76 ...
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Small Ensemble Bass Guitar,Violin - Level 4 - Digital Download SKU: A0.1013048 Composed by Christine Southworth. Contemporary,World. Score and parts. 76 pages. Airplane Ears Music #5802059. Published by Airplane Ears Music (A0.1013048). HEAVY METAL (2006, 18') for Balinese Gamelan Gong Kebyar, guitar, violin, bass, lyricon, and robotic instruments. Commissioned by the Boston Museum of Science with the support of NEFA and Meet the Composer. Premiered on Wednesday, January 25, 2006 at Cahner's Theater in the Boston Museum of Science as part of Music & The Invasion of Technology, performed by Gamelan Galak Tika, Blake Newman, Erik Nugent, Todd Reynolds, and Eddie Whalen. Heavy Metal represents a new kind of fusion, multi-dimensional, making connections across cultures acoustic and electronic, western and eastern, high and low, human and machine. The piece was written for Gamelan Galak Tika, a Balinese gamelan in residence at MIT that has worked with electric instruments many times in the past, but this is certainly the first time a traditional Balinese gamelan has shared the stage with robotic instruments. In other ways, though, there is something very natural about these combinations: they reflect the way we all experience music in the 21st century. It could also be argued that this is simply an extension of the way music has always progressed and changed, as Chinese shawms morphed into oboes, and exotic middle eastern percussion instruments, like the cymbal and triangle, worked their way into the symphony orchestra. Heavy Metal engages the full force of two ensembles, Galak Tika and Ensemble Robot, as well as a living history of electroacoustic instruments, from the vintage lyricon to the Whirlybot. The sounds implicit in both senses of the title find their way into new combinations of struck bronze and excitable circuitry. Heavy Metal is based on American hard rock music from the late 1970’s through the early 1990s. The idea started as a pun, because the keys of many Balinese gamelan instruments are made of metal, but when I began studying the melodic ideas and rhythms in heavy metal music, I found that they leant themselves very well to gamelan. The problem was that a gamelan has a very specific sound and limited timbral variation, the sounds of hit metal and skin. I feel that the sounds of the gamelan become much more interesting when combined with string sounds. Also, the gamelan uses a pentatonic scale so I am using western instruments and robots to expand the sound universe to a full spectrum. In this piece, the gamelan and the western/robotic instruments play separately – rhythmically they are together, and they are working through the same material at the same time, but the western instruments and robots do not play the 5 notes that the gamelan plays, and more often than not they stay out of that key (a variation of E Major, the gamelan tuning being C#, D#, E, G, and A) altogether. This creates a sense of two harmonic worlds co-existing and cooperating, the West and our technology with Bali and their technology, much more primitive but very powerful nonetheless.About the ComposerChristine Southworth (b. 1978) is a composer and video artist based in Lexington, Massachusetts, dedicated to creating music born from a cross-pollination of sonic ideas. Inspired by intersections of technology and art, nature and machines, and musics from cultures around the world, her music employs sounds from man and nature, from Van de Graaff Generators to honeybees, Balinese gamelan to seismic data from volcanoes. Website: www.kotekan.com
$25.00
Caim
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Adrian Glyn Watts
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Caim
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Cynghannedd Music
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SheetMusicPlus
Small Ensemble Bass Guitar,Harp,High Voice,Low Voice - Level 3 - Digital Download SKU: A0.1030781 Composed by Adrian Glyn Watts. Christian,Contemporary. ...
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Small Ensemble Bass Guitar,Harp,High Voice,Low Voice - Level 3 - Digital Download SKU: A0.1030781 Composed by Adrian Glyn Watts. Christian,Contemporary. Score and parts. 12 pages. Cynghannedd Music #2029201. Published by Cynghannedd Music (A0.1030781). Caim is an ancient form of prayer. The petitioner, imagines all of the things that are important to them, and encircles them in their minds eye, asking for protection for each thing in turn. I have used this in a Baptism ceremony for my daughter, but it can also be used in a secular setting. My preference is for the Harp to accompany as this gives the music an early Celtic feel, but it can work equally well on piano.
$3.99
Sea Songs
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Steve Martland
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Sea Songs
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Schott Music - Digital
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SheetMusicPlus
Mixed choir (SSSAAATTTBBB) - difficult - Digital Download SKU: S9.Q19671 For mixed choir. Composed by Steve Martland. This edition: choral score. ...
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Mixed choir (SSSAAATTTBBB) - difficult - Digital Download SKU: S9.Q19671 For mixed choir. Composed by Steve Martland. This edition: choral score. Choral Music of Our Time. Downloadable, Choral score. Duration 23 minutes. Schott Music - Digital #Q19671. Published by Schott Music - Digital (S9.Q19671). English.Sea Songs, commissioned jointly by Ars Nova Copenhagen and Glasgow Concert Halls, is a kind of sequel to Martland's Street Songs (originally written for the Kings Singers and Evelyn Glennie). As with the earlier piece, Martland made use of to the library of the English Folk Song and Dance Society at Cecil Sharp House in north London. I wanted specifically to find texts that were not just the usual nautical heave-ho sort of thing, but instead explored the dangers and hardships still being experienced by sailors as recently as the early 19th century. I was also very happy to see in these texts the sense of camaraderie and mutual support that existed between the sailors. (Steve Martland) Dance to your Daddy sets the scene of a sailor's wife at home, dandling her baby son and singing to him about his daddy away fishing, and about the future. Both the tune and the words come from the Northumberland area around Newcastle. This song is very well known in the UK and gave the title to a famous television series When the boat comes in. Fire Down Below is about the effects of fire - a constant danger on board wooden ships. At the end of this song the words take on an extended meaning: Fire in our hearts for the friends that we love. The Dead Horse is about the initial month of work without pay in which all seamen had to take part. They referred to it as the dead horse - hence the expression to flog a dead horse when something is a waste of time. The seamen resented this unpaid time, and the text expresses their frustrations metaphorically by listing what they would do to the horse! The music's frantic gallop alludes to the horse's desperation. Although The Sea Martyrs presents itself as a ballad, this text has a more literary feel, and unlike the other songs it doesn't include a chorus refrain. It concerns the sailors' lack of pay, the consequences of asking for pay (being hanged!), and the poverty of their families at home. The poem portrays the sailors' deaths as an almost religious sacrifice to help future seamen. At the end of the work, the opening of Dance to your Daddy returns as a kind of descant, sung by an angel calling to the hanged men. © Paul Hillier, 2012.
$12.99
I Have a Question
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Love to Sing
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Amphibia Cultural Legacy
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I Have a Question
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Amphibia Cultural Legacy
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SheetMusicPlus
Strings Bass Voice,Digital Keyboard,Double Bass,Drum Set,Drums,Electric Bass Guitar,Electronic Keyboard,Harp,Horn,Percussion,Piano and Keyboard,Synthesizer,Trum...
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Strings Bass Voice,Digital Keyboard,Double Bass,Drum Set,Drums,Electric Bass Guitar,Electronic Keyboard,Harp,Horn,Percussion,Piano and Keyboard,Synthesizer,Trumpet,Tuba - Digital Download SKU: A0.1264000 By Love to Sing. By Amphibia Cultural Legacy. Arranged by Amphibia Cultural Legacy. Broadway,Children,Comedy,Film/TV,Musical/Show,New Age. 3 pages. Amphibia Cultural Legacy #856909. Published by Amphibia Cultural Legacy (A0.1264000). I Have a Question is a popular children's song initially written by Love to Sing. However, the song has recently been remixed by an orchestra with additional instruments by Amphibia Cultural Legacy, giving it a new sound.The song begins with the sweet melody of a cello and piano, which sets the tone for the rest of the song. Soon, the orchestral elements kick in, adding depth and richness to the music. The lyrics are about asking questions and learning new things, taking on a new significance when paired with lush orchestration. The soaring strings, punchy brass, and percussive beats create an adventurous and playful atmosphere.This new version of I Have a Question is perfect for children who love exploring the world around them and discovering new things. The added instruments bring excitement and curiosity to the song, making it even more enjoyable for young listeners. Overall, this cover version of I Have a Question is a delightful and imaginative take on the original. It's captivating orchestration and catchy lyrics will make it a new favorite for children and parents alike.
$60.00
Theme & Variations for Bass Clarinet
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Contemporary
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Janna Willard
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Theme & Variations for Bass Cl
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Janna Hoskin
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SheetMusicPlus
Bass Clarinet Solo - Level 4 - Digital Download SKU: A0.1294033 Composed by Janna Willard. 20th Century. Individual part. 8 pages. Janna Hoskin #884515. ...
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Bass Clarinet Solo - Level 4 - Digital Download SKU: A0.1294033 Composed by Janna Willard. 20th Century. Individual part. 8 pages. Janna Hoskin #884515. Published by Janna Hoskin (A0.1294033). “Theme & Variations for Bass Clarinet†is an experiment in using a matrix to create the inversions, retrogrades, and retrograde inversions used for each statement within the theme. I also used a separate matrix for note values and yet another for dynamics.Your mission, should you choose to accept it, is to find the musical (and perhaps the emotional) centre of the piece, and then convey it to your audience. To this end, please consider the stated tempo as a suggestion and not a hard and fast rule to follow. If a particular section feels like it should be slower, make that adjustment; if another feels like it should be faster, make that adjustment also.Please let me know if you perform this piece. I am interested in learning how different performers interpret the music on the page!
$2.99
What Would Jesus Drive?
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David Kai
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David Kai
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What Would Jesus Drive?
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David Kai
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SheetMusicPlus
Level 3 - Digital Download SKU: A0.1105255 By David Kai. By David Kai. Arranged by David Kai. Christian,Comedy,Country,Folk. Full Performance. Duration 1...
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Level 3 - Digital Download SKU: A0.1105255 By David Kai. By David Kai. Arranged by David Kai. Christian,Comedy,Country,Folk. Full Performance. Duration 139. David Kai #708515. Published by David Kai (A0.1105255). A fun song for the younger crowd with an environmental message as well! A different spin on WWJD with a touch of Zydeco and a Newfoundland ugly stick thrown in for good measure! WHAT WOULD JESUS DRIVE? (WWJD) By David Kai ©2016 CHORUS: Oh what would Jesus drive, Oh what would Jesus drive? I ponder every day as I go through it, Though many folks are asking, “Well, what would Jesus do?†I’m wondering just what drove him to do it. I thought at first that Jesus would have to drive a car, Like a Chevrolet, a Chrysler or a Ford, But I looked it up in Acts and it’s mentioned there in John, Jesus and the disciples were all in one Accord. CHORUS: God gave this great green earth, but we’ve really messed it up, It pains God’s heart and spirit just to see us, Since God so loves the birds and the lilies of the field, I think that Jesus just might drive a Prius. CHORUS:.
$1.99
Stabat Mater - string ensemble parts
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Contemporary
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Annemieke Lustenhouwer
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Stabat Mater - string ensemble
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Annemieke Lustenhouwer
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SheetMusicPlus
Small Ensemble - Level 4 - Digital Download SKU: A0.1195919 Composed by Annemieke Lustenhouwer. Contemporary. Score and parts. 80 pages. Annemieke Lusten...
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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
LET THERE BE A CHANGE IN ME
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MARY R LEASON/PAUL L VINES
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PAUL LUTHER VINES
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LET THERE BE A CHANGE IN ME
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PAUL Luther VINES
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SheetMusicPlus
Electronic Keyboard,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.1501056 By MARY R LEASON/PAUL L VINES. By PAUL LUTHER VINES. Arranged by...
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Electronic Keyboard,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.1501056 By MARY R LEASON/PAUL L VINES. By PAUL LUTHER VINES. Arranged by PAUL LUTHER VINES. Christian,Country,Folk,Praise & Worship,Spiritual. Score and individual part. 1 pages. PAUL Luther VINES #1072314. Published by PAUL Luther VINES (A0.1501056). A spiritual. Key of D - E. In Mary's first five verses she is asking the Lord to help her attain to these virtues in her walk as a Christian. As Christians we all want to these good virtues in our lives, but perfection is difficult to live up to, ... so I wrote a sixth verse to this song to round things out.
$5.99
Our Father Forgive Us vocal SSAA Quartet, flute or violin or cello and piano with parts
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Connie Boss
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Connie Boss
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Our Father Forgive Us vocal SS
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Connie Boss
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SheetMusicPlus
Alto Voice,Cello,Flute,Piano Accompaniment,Soprano voice,Violin - Level 2 - Digital Download SKU: A0.1405874 Composed by Connie Boss. Arranged by Connie ...
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Alto Voice,Cello,Flute,Piano Accompaniment,Soprano voice,Violin - Level 2 - Digital Download SKU: A0.1405874 Composed by Connie Boss. Arranged by Connie Boss. Christian,Lent,Religious,Sacred,Spiritual. 17 pages. Connie Boss #988923. Published by Connie Boss (A0.1405874). The Lord's Prayer is very powerful spoken and many arrangements have been made. When we speak or sing it, we are asking God to forgive us our trespasses. I was inspired to compose this song from a sermon from our priest Father Boniface. This composition uses the lyrics from the Lord's Prayer and also has an echo part where the phrase Forgive Us is used. This version is for vocal quartet, with optional parts for flute or violin or and piano. It can easily be sung as a solo or duet and without the optional instruments if desired. I like the combo as it creates moving parts within it. Any questions or requests, email cdboss@cvalley.net.
$7.99
Our Father Forgive Us (The Lord's Prayer) vocal duet, flute and piano
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Connie Boss
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Our Father Forgive Us
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Connie Boss
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SheetMusicPlus
Alto Voice,Flute,Piano,Soprano voice - Level 2 - Digital Download SKU: A0.1303427 Composed by Connie Boss. Religious,Sacred. 13 pages. Connie Boss #89299...
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Alto Voice,Flute,Piano,Soprano voice - Level 2 - Digital Download SKU: A0.1303427 Composed by Connie Boss. Religious,Sacred. 13 pages. Connie Boss #892997. Published by Connie Boss (A0.1303427). The Lord's Prayer is very powerful spoken and many arrangements have been made. When we speak or sing it, we are asking God to forgive us our trespasses. I was inspired to compose this song from a sermon from our priest Father Boniface. This composition uses the lyrics from the Lord's Prayer and also has an echo part where the phrase Forgive Us is used. This version is for vocal duet, flute and piano. It can easily be sung as a solo and without the flute if desired. I like the combo as it creates moving parts within it. Any questions or requests, email cdboss@cvalley.net.
$5.99
Folk Songs For Classical Guitar - Volume 35 (Songs 919-945)
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Traditional/Anonymous
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Socrates Arvanitakis
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Folk Songs For Classical Guita
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Socrates Arvanitakis
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SheetMusicPlus
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1167752 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Class...
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Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1167752 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Classical,Early Music,Folk,Traditional. Individual part. 46 pages. Socrates Arvanitakis #768119. Published by Socrates Arvanitakis (A0.1167752). This is the thirtieth-fifth volume of an extensive collection of folk songs arranged for the classical guitar mostly in two-part counterpoint. The arrangements are of moderate difficulty and the aims of this publication are to familiarise, entertain and educate guitarists (and other musicians) with a melodic repertoire of lasting aesthetic value, under the light of contrapuntal treatment. The thirty five volumes of this collection can certainly be printed on paper if so desired and there are a few pages in each volume, either blank or with photographs of various musicians, which can be inserted at will in any place for the correct ordering of left and right hand pages so that page turns can be avoided. The principle of avoiding page turns has been maintained in all  volumes, but this edition is also designed with mobile electronic devices in mind such as tablets etc, using the environment and facilities of a score reading application, towards a paperless world, at least in music. Therefore the size of the staves is bigger than usual for ease of reading on a small screen but not big enough to exceed the limit of a two-page view.Active internal links for navigating from thematic indexes to particular songs and back to indexes have been added, and also external internet links to sites that give further information for the 945 songs of this first collection for classical guitar.Volume 35 (Songs 919-945)Wild, Wild Berry (the)Will Ye No Come Back AgainWill you go lassieWilliam TaylorWillie Brook (William Cook)Willie DooWillie drowned in EroWindy Old WeatherWithin a GardenWoodsmans Alphabet (the)World I have Forsaken (the)Wraggle Taggle Gipsies-O (the)Wreck of the Sloop John B (the)Yankee DoodleYarmouth is a Pretty TownYe Banks And BraesYe Mar’ners AllYe People All, In God RejoiceYe’re sair dung, Annie, or, Bervie’s BraesYellow BirdYellow Rose of Texas (the)Yellow Sheepskin (the)Young BankerYoung Bucks A-Hunting GoYoung CollinsYoung HerchardYoung William.
$25.00
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