Download Digital Sheet Music of She's Not There: Tuba for Piano solo

Sheetmusic to print

Free
Sheet Music
0

Digital
Sheet Music
2

Sheet Music
Books
0

She's Not There: Tuba
Piano solo

Piano Solo - Level 2 - Digital Download SKU: A0.1277927 Composed by Terry Gilkyson. Arranged by Thomas Gunther. Comedy,Film/TV,Jazz. Score. 2 pages. Thomas Gunther Music Productions #869433. Published by Thomas Gunther Music Productions (A0.1277927). About the arrangement(See also (PopJazzKeys.com/The-Bare-Necessities)This is a relatively easy to play solo piano jazz arrangement of THE BAR NECESSITIES. The song is a traditional jazz tune made famous in the Walt Disney movie THE JUNGLE BOOK.Â The video and audio recording I posted here features me playing the short version of my arrangement. When played as written (with all the repeats) it is almost 4 minutes long.What's cool about this arrangement is that you can easily add a bass player and even an entire rhythm section while playing it the same way as you would in a solo performance!Who this arrangement is best suited forI think everyone who likes the song except perhaps advanced jazz pianists will have fun learning and playing this arrangement.Â I arranged this piece originally with my younger piano students in mind, who have smaller hands than most adults. Thatâ€™s why there are no large intervals or big jumps in the left hand. Something generally found in ragtime and early jazz piano styles. This means that my arrangement is perfectly suited for pianists with smaller hands. Of course pianists with large hands (like myself) can play it too (ha-ha!).I think it is also a great piece for pianists who want to familiarize themselves with playing jazz piano. And since I wrote out every note and articulation, they can play along with the recording and hopefully pick up the traditional jazz feel along the way.Although the arrangement is not very difficult, it poses several challenges for the inexperienced pianist, as explained later.How I arranged itAs I already explained above, there are no large intervals or big jumps in the left hand to be found. Instead, I focused more on polyphonic arranging techniques, in both hands. I also used guide tones and inversions.The left hand imitates the accompaniment style of a traditional jazz guitar or banjo player with added half time bass figures that are typically played by a tuba or upright bass an octave lower.Â Tips for how to learn this arrangementWhen I teach this song to my students I strongly recommend to them to listen to the original version and my recording a lot, rather than explaining to them how swinging eighth notes and jazz articulation work. By the way, there are a few bars where you hear me playing straight eighths on the recording (as indicated in the sheet music).Â I decided to add articulations so that pianists who have not a lot of experience with playing jazz will find it easier to play it with the appropriate â€œtouchâ€. It's a good idea to check those out.Should you not be familiar with playing polyphonic passages with one hand, you might want to practice very slowly at first and attempt to balance the different voices appropriately.Â Listening to the recording will also help with discovering dynamic possibilities. I didnâ€™t want to clutter up the sheet music with dynamic markings, so listening to the recording is really the only way to figure out what dynamics I had in mind.

#SheetMusicPlus

Piano Solo - Level 5 - Digital Download SKU: A0.1029561 Composed by Peter Daniel Klein. 20th Century,Contemporary. Score. 13 pages. Peter Daniel Klein #6401141. Published by Peter Daniel Klein (A0.1029561). This musical piece is comprised of two twelve-tone rows, atonal music based on synthetic scales unique to each composition, which are based on medieval plainsong chants whose systemization was begun by Pope Gregory I during the sixth century AD. A simple explanation of this composition is that it is the world's oldest notated music combined with modern 20th-century music theory that eschews traditional melody and harmony for synthetic scales unique to each composition. The music is complex and dissonant, although the conversion of the two plainsong chants to twelve-tone rows retains a semblance of a tonal center at given points throughout. Still, the entire piece of music is that same melody utilized harmonically: just forward, backward, upside-down, backward and upside-down, rhythmically altered, transposed, displaced up or down, or split into smaller cells and then reprocessed in the same way mentioned above. I have also borrowed the Baroque Period techniques of the two-part invention and four-voice fugue combined with serial musical techniques that may offend the average listener's traditional musical sensibilities but make logical structural sense. I used the Dies Irae (The Day of Wrath) and Tuba Mirum (The Last Trumpet Call). The authorship of the chants has been attributed to many saints from Gregory to Thomas of Celano but probably evolved from early Jewish psalmody carried forward by the earliest Jewish converts to Christianity, which further developed into trochaic metered poetry by successive monks. It was set to memorized plainsong heralding back, in part, to Jewish worship. The text of the Dies Irae is very similar to Zephaniah 1:16â€‹. The last trumpet call that raises the dead in Christ is comparable to the Apostle Paul's account written in his first epistle to the Corinthians Chapter 15 and first epistle to the Thessalonians Chapter 4. The two epistles may, or may not, be related to the Final of the Seven Trumpets bringing God's Judgement on the earth spoken of in Revelation 11. The relationship of the trumpet mentioned in the epistles to those written about in Revelation divides theologians, but I digress into unrelated matters. Despite the modern theory, the music is still movingly visceral because of its conceptually descriptive nature. It is full of aural symbolism following the Dies Irae and the Tuba Mirum, making it a type of program music ala Hector Berlioz of the Romantic Period. The music is, therefore, genuinely eclectic because it has blended qualities of several musical periods. The final section of the video explains the symbolism. The music difficulty is virtuosic, extremely taxing to play.