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A Changed Man
Not classified
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A Changed Man
Sheetmusic to print
1,012 sheet music found
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1001
A Changed Man (Rehearsal Track)
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Tenor voice, Piano
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Broadway
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Stephen DeCesare
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A Changed Man
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Exultet Music
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SheetMusicPlus
Piano,Tenor Voice - Digital Download SKU: A0.1052834 Composed by Stephen DeCesare. Broadway,Concert,Film/TV,Musical/Show,Opera. Full Performance. Duratio...
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Piano,Tenor Voice - Digital Download SKU: A0.1052834 Composed by Stephen DeCesare. Broadway,Concert,Film/TV,Musical/Show,Opera. Full Performance. Duration 267. Exultet Music #6327921. Published by Exultet Music (A0.1052834). Featured in: Lest We Forget: a Holocaust Oratorio in the opera Kolbe (both which can be found on this site). Scored for Piano and Tenor Solo.
$3.99
Romance, Op. 28, No. 2 (Simplified)
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Piano solo
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INTERMEDIATE
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Robert Schumann
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Stephen Smith
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Romance, Op. 28, No. 2
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Stephen Smith
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.960280 Composed by Robert Schumann. Arranged by Stephen Smith. Concert,Holiday,Love,Romantic Period,Weddi...
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Piano Solo - Level 3 - Digital Download SKU: A0.960280 Composed by Robert Schumann. Arranged by Stephen Smith. Concert,Holiday,Love,Romantic Period,Wedding. Score. 2 pages. Stephen Smith #6429803. Published by Stephen Smith (A0.960280). A simplified Romance? -- surely that must be worth $2.99! I have taken Schumann's op. 28 no.2, changed the key from six sharps to one flat, put the melody on top, simplified the accompaniment, and boiled the whole thing down from three staves to two, so that more pianists can have the pleasure of playing this gorgeous piece.
$2.99
Renaissance Solos for Mandolin
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Mandolin
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EASY
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Classical
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Renaissance
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John Holenko
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Renaissance Solos for Mandolin
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
By John Holenko. For Mandolin. Early Music/Renaissance. 64 pages. Published by Mel Bay Publications - Digital Sheet Music ...
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By John Holenko. For Mandolin. Early Music/Renaissance. 64 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609742959. Most of the music in this book comes from editions or manuscripts from England in the late 1500ICOs. There are also a few French pieces. The cittern was popular in Italy, England and France. Aside from various tunings, there were two main kinds of instruments being played during the 16th and 17th centuries: the 4 course (four sets of doubled strings), and the 6 course cittern with several editions of music to go along with both. The pieces I have chosen for this book were all written for the 4 course instrument and fall into three main categories: dance music, song arrangements and free pieces. The free pieces are basically preludes that explore the melodic range of the instrument. As the title suggests these pieces can be played very freely and need not have a very strict tempo. The dance pieces are not really meant to be danced to, but rather take their form and rhythm from the popular court dances of the time. These can be played with a wide range of overall tempo, but once a tempo is chosen, should be strictly adhered to. The song arrangements are settings of popular songs of the time as well as more formal vocal settings. Care should be taken in making the melody clear and singing. Since the range of the cittern and mandolin are the same, John Holenko has kept the melodies intact. Because of the difference in tuning however, the voicing of the harmonies have been changed so as to fit on the mandolin.
$17.99
Bartók: Rumanian Folk Dances Sz.56 (Complete) -symphonic wind dectet
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Bela Bartok
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Ray Thompson
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Bartók: Rumanian Folk Dances
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RayThompsonMusic
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SheetMusicPlus
Large Ensemble Bassoon,Clarinet,Double Bass,Horn,Oboe,Piccolo - Level 4 - Digital Download SKU: A0.1038136 Composed by Bela Bartok. Arranged by Ray Thomp...
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Large Ensemble Bassoon,Clarinet,Double Bass,Horn,Oboe,Piccolo - Level 4 - Digital Download SKU: A0.1038136 Composed by Bela Bartok. Arranged by Ray Thompson. 20th Century,Classical,Folk. Score and parts. 46 pages. RayThompsonMusic #643066. Published by RayThompsonMusic (A0.1038136). The complete set arranged wind dectet and bass Romanian Folk Dances Sz. 56, BB 68 is a suite of six short piano pieces composed by Béla Bartók in 1915. He later orchestrated it for small ensemble in 1917 as Sz. 68, BB 76. It is based on seven Romanian tunes from Transylvania, originally played on fiddle or shepherd's flute. The original name for the piece was titled Romanian Folk Dances from Hungary but was later changed by Bartók when Transylvania became part of Romania in 1920. It is nowadays available in the 1971 edition which is written with key signatures although Bartók rarely ever used key signatures. This set of dances consists of six movements and, according to the composer, it should take four minutes and three seconds to perform, but most professional pianists take up to five minutes. The list of the movements is as follows (with the original Hungarian title listed first, the most commonly known Romanian title second, and the English translation in parentheses): Bot tánc / Jocul cu bâtă (Stick Dance)The melody of the first movement, according to Bartók, came from the Mezőszabad (present-day Voiniceni) village that was part of Mezőcsávás (present-day Ceuașu de Câmpie) commune which was located in the Maros-Tordaadministrative county within Transylvania, and he first heard it when two gypsy violinists were playing it. Brâul (Sash Dance)The second movement is a typical dance from Romania called Brâul, for which traditionally a sash or a waistband was used. This melody came from Egres (present-day Igriș), in the Banat region. Topogó / Pe loc (In One Spot)The third dance comes also from Egres (Igriș), but its theme is much darker and its melody recreates Middle Eastern instruments, such as the flute.[4] Bucsumà tánc / Buciumeana (Dance from Bucsum)The fourth dance came from Bucsony, Alsó-Fehér County (today Bucium, Alba county in Romania) Román polka / Poarga Românească (Romanian Polka)The fifth dance is an old Romanian dance similar to the Polka and comes from Belényes (present-day Beiuş, in Bihor county), near the border between Hungary and Romania. Aprózó / Mărunțel (Fast Dance)The sixth and last dance is formed by two different melodies: the first one comes from Belényes (present-day Beiuș) and the second one comes from the then named Nyagra (present-day Neagra) village within the Palotailva (present-day Lunca Bradului) commune. Both on the orchestral version and on the original piano version, the final two dances are performed attacca-without a break between movements.
$19.95
Marche Processionelle-Guilmant- organ solo
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Organ
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INTERMEDIATE/ADVANCED
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Alex
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Phil Beaman
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Marche Processionelle-Guilmant
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Phil Beaman
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SheetMusicPlus
Organ - Level 4 - Digital Download SKU: A0.1139501 Composed by Alex. Guilmant. Arranged by Phil Beaman. March,Romantic Period,Standards. Score. 11 pages....
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Organ - Level 4 - Digital Download SKU: A0.1139501 Composed by Alex. Guilmant. Arranged by Phil Beaman. March,Romantic Period,Standards. Score. 11 pages. Phil Beaman #739789. Published by Phil Beaman (A0.1139501). I wrote this piece to use as the opening piece for an organ dedication recital I was playing. I admired this March by Alexander Guilmant, but that piece opened softly and I wanted a bold opening; so I expanded and arranged the piece, using Guilmant's own material, and created new beginning sections so that I could open the dedication concert with trumpets. The piece is now about contrasts as I have changed tempi, dynamics, registrations, and textures to alternate with each section. Many colours of the organ are shown, from reeds to flutes, from mp to tutti. The piece builds to a full and vigorous Tutti climax. 11 pages; 5:45 minutes.
$7.40
Asian romance
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Piano solo
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ADVANCED
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James McDonald
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Asian romance
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James McDonald
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.885800 Composed by James McDonald. 20th Century,Children,Contemporary,New Age,Standards. Score. 5 pages. ...
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Piano Solo - Level 5 - Digital Download SKU: A0.885800 Composed by James McDonald. 20th Century,Children,Contemporary,New Age,Standards. Score. 5 pages. James McDonald #3104525. Published by James McDonald (A0.885800). Following the advice of some friends I changed the title of an older composition to this one,... Asian romance. It is a modern romantic piece for advanced or at least lower advanced pianists. The beautiful melodies included in this piece have an oriental flavour in them which I think Asian people should appreciate. It can also be viewed as a New Age piece. Finally a nice piece of piano for a recital... Enjoy.
$1.99
Bartók: Rumanian Folk Dances, Sz.56 - brass quintet
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Brass quartet : 2 trumpets, trombone, tuba
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INTERMEDIATE/ADVANCED
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Bela Bartok
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Ray Thompson
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Sz
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Bartók: Rumanian Folk Dances,
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RayThompsonMusic
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.554008 Composed by Bela Bartok. Arranged by Ray Thompson. 20th Century,Con...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.554008 Composed by Bela Bartok. Arranged by Ray Thompson. 20th Century,Concert,Contemporary,Folk,World. Score and parts. 25 pages. RayThompsonMusic #6455715. Published by RayThompsonMusic (A0.554008). Romanian Folk Dances Sz. 56, BB 68 is a suite of six short piano pieces composed by Béla Bartók in 1915. He later orchestrated it for small ensemble in 1917 as Sz. 68, BB 76.It is based on seven Romanian tunes from Transylvania, originally played on fiddle or shepherd's flute. The original name for the piece was titled Romanian Folk Dances from Hungary but was later changed by Bartók when Transylvania became part of Romania in 1920. It is nowadays available in the 1971 edition which is written with key signatures although Bartók rarely ever used key signatures.This set of dances consists of six movements and, according to the composer, it should take four minutes and three seconds to perform, but most professional pianists take up to five minutes. The list of the movements is as follows (with the original Hungarian title listed first, the most commonly known Romanian title second, and the English translation in parentheses):
$14.95
Wellerman - for TB choir and piano - with word changes to save whales in final verse
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Choral 2-part
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EASY
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Traditional New Zealand Sea Sh
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Kim Kirkman
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Wellerman - for TB choir and p
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Kim Kirkman
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SheetMusicPlus
Choral Choir (TB) - Level 2 - Digital Download SKU: A0.779648 Composed by Traditional New Zealand Sea Shanty. Arranged by Kim Kirkman. Folk,Multicultural...
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Choral Choir (TB) - Level 2 - Digital Download SKU: A0.779648 Composed by Traditional New Zealand Sea Shanty. Arranged by Kim Kirkman. Folk,Multicultural,World. Octavo. 10 pages. Kim Kirkman #6457001. Published by Kim Kirkman (A0.779648). Wellerman for soprano/alto choir and pianoI have changed the chorus word 'tonguing' to 'scrubbing'. Tonguing means butchering.I have also changed the final verse to one about preserving the whales.The passing years have flipped the taleThe boats now leave to save the whale.The Wellerman makes his regular callTo encourage captains, crew and all.There are six verses. The last has a key change.Exciting, easy arrangement for those interested in the song made famous by Nathan Evans.
$1.99
The Flying Dutchman
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Classical
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Richard Wagner
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The Flying Dutchman
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Schott Music - Digital
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SheetMusicPlus
Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 2 Ventil-Hr. · 2 Natur-Hr. · 2 Ventil-Trp. · 3 Pos. · Basstb. - P. - Str. Auf der ...
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Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 2 Ventil-Hr. · 2 Natur-Hr. · 2 Ventil-Trp. · 3 Pos. · Basstb. - P. - Str. Auf der Bühne: 3 Picc. (womöglich mehrfach besetzt) - 6 Hr. - Tamtam - Windschleuder - Digital Download SKU: S9.Q25915 Romantic Opera in 3 Acts. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - Opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 135' 0. Schott Music - Digital #Q25915. Published by Schott Music - Digital (S9.Q25915). German • English.An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DER FLIEGENDE HOLLÄNDER (Original version) With this edition, the original version of Wagner’s opera Der fliegende Holländer [The flying Dutchman] WWV 63 is made available to the public for the first time in piano score form. The score on which the edition is based was published in the Richard Wagner-Complete Edition 1983: Richard Wagner. Collected works Vol. 4, I-II, The Flying Dutchman. Romantic opera in three acts (original version 1841), edited by Isolde Vetter (Schott Music International, Mainz, RWA 104-10/RWA 104-20).†(Egon Voss, quoted from the foreword of the new Der fliegende Holländer vocal score) Original version and 1842-1880 version The original version of Der fliegende Holländer dates from 1841. Wagner, at the time a completely unknown Kapellmeister in France, trying to get a foothold in Paris, saw the opportunity for a stage work that would meet the fashion at the Paris Opera of performing several short works one after another. Der fliegende Holländer, conceived in 1840 and composed in 1841, seemed to him suited to the purpose. In 1841, even when Wagner no longer counted on a success in Paris, he still held to the conception of a one-act opera and offered the work to German opera houses under the title of “Romantic Opera in One Act and Three Scenesâ€. This version is set in Scotland, taking as the literary model for the opera Heinrich Heine’s novel fragment “From the Memoirs of Mr. Schnabelewopskiâ€, and the protagonists have English names. This version was never performed in Wagner’s lifetime. Beginning in 1842, the work went through a tale of constant revision: Even before the Dresden premiere (2nd January 1843) Wagner undertook fundamental alterations. He transposed the location from Scotland to Norway, changed character’s names as appropriate, divided the opera into three acts – not least due to considerations of scene changes – and transposed Senta’s Ballad from A minor to G minor. It was in this version that the score of the opera went to print in 1845. For a performance in 1860 he composed the later so-called ‘Tristan’ or ‘Redemption’ ending to the Overture. Until the very end of his life, Wagner contemplated a plan for a final score or a definitive vocal score: it never came to be, so that to this day, as with Tannhäuser, we still do not have Der fliegende Holländer in a final version. Based on the research conducted in the creation of the Complete Edition, our editions contain, in one case the original version of 1841, while the other essentially goes back to the first printing of the score of 1845, but with the addition of the source material for the retouchings dating from 1842 to 1889. VOCAL SCORES The original version of the opera was made available for the first time in a vocal score in 2005 (ED 8065). The completely revised new edition of the vocal score of the 1842-1880 version appeared in 2011 (ED 20531).Les opéras de Richard Wagner paraissent pour la première fois sous forme de piano-chant chez Schott en version originale. Sont déjà publiés dans la série : L’Or du Rhin, Lohengrin, Parsifal et Le Vaisseau fantôme (première version de 1841 et version 1842-1880). Les autres opéras de Wagner représentés à Bayreuth paraîtront d'ici 2013, année anniversaire de la naissance du compositeur.
$42.99
How Gentle God's Commands : SATB and Piano
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Choral SATB
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Sacred music
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Hans G
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M
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How Gentle God's Commands : SA
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Vocal Works
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SheetMusicPlus
Choral Choir (SATB) - Digital Download SKU: A0.741920 Composed by Hans G. Nageli. Arranged by M. Ryan Taylor. Christian,Praise & Worship,Sacred. Octavo. ...
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Choral Choir (SATB) - Digital Download SKU: A0.741920 Composed by Hans G. Nageli. Arranged by M. Ryan Taylor. Christian,Praise & Worship,Sacred. Octavo. 5 pages. Vocal Works #484765. Published by Vocal Works (A0.741920). A simple arrangement of this well-loved hymn. The choral parts are derived wholly from the original hymn, while the piano takes on a more adventurous role. I chose this hymn for the theme repentance, but it would equally compliment themes like commandments, mercy, grace, or faith. How gentle God’s commands! How kind his precepts are! Come, cast your burden on the Lord And trust his constant care. Beneath his watchful eye, His saints securely dwell; That hand which bears all nature up Shall guard his children well. Why should this anxious load Press down your weary mind? Haste to your Heavenly Father’s throne And sweet refresh-ment find. His goodness stands approved, Unchanged from day to day; I’ll drop my burden at his feet And bear a song a-way.
$1.99
A Promise to Stand By:
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Concert band
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Contemporary
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Benjamin Ayotte
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A Promise to Stand By:
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Ayotte Custom Musical Engravings
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SheetMusicPlus
Concert Band - Digital Download SKU: A0.733009 Composed by Benjamin Ayotte. Contemporary. Score and parts. 30 pages. Ayotte Custom Musical Engravings #20...
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Concert Band - Digital Download SKU: A0.733009 Composed by Benjamin Ayotte. Contemporary. Score and parts. 30 pages. Ayotte Custom Musical Engravings #2075851. Published by Ayotte Custom Musical Engravings (A0.733009). A promise to stand by... this phrase indicate loyalty, steadfastness, being a man of one's word, knowing that integrity and honor are the enduring qualities by which we will be judged; not fame, fortune, influence, or other worldly measures. It is no surprise, therefore, that this phrase was incorporated by Lou Fortunate and Msgr Herman Kucyk, of blessed memory, into the alma mater of Divine Child High School. When I was approached by Mr. Bush and the Divine Child Band Boosters about the possibility of writing a piece to celebrate the fiftieth anniversary of the band program I was excited, flattered, and--most of all--humbled that I should be chosen out of many worthier candidates, in my estimation. Divine Child has had, for the longest time--since the beginning, it seems--a vibrant and thriving fine arts program involving music (both vocal and instrumental), theatre, and the visual arts as well as literature and poetry. I began to conceive of a work that would pay homage to each of these arts musically and be a celebration of all that Divine Child has to offer. One of my favourite composers, Gustav Mahler, famously said, a symphony must be like the world; it must contain everything. In the 1988 vice-presidential debate, Lloyd Bentsen famously said to Dan Quayle, Senator, you're no Jack Kennedy. A voice in my head said, Benjamin, you're no Gus Mahler. As the discarded drafts in the recycle bin took on a life of their own, I eventually dismissed the idea as impractical, and even vainglorious. I settled upon a more general idea to make the music about the band program. Most every student in the band program goes through the rigors of marching band and performs at the Falcon football games where they become intimate with the Three School Songs: the Falcon Fanfare, the Fight Song, and the Alma Mater. Taking the latter piece as my inspiration, I meditated upon the mission of the school: a promise to educate us in body, mind, and spirit. Divine Child High School stands by her promise, recruiting some of the best teachers in the area to guide us through the tumultuous adolescent years. We students, too, have a promise: to strive to be worthy of this gift, and to accept it and use it for the betterment of society. In band class, under Leo Tallieu, I learned to listen; to contribute to the group; to consider my part in relation to the whole ensemble; to show leadership when needed; and to be a role player when needed. And so, my conception of the piece changed. I wanted to use melodic, harmonic, and rhythmic devices that would be familiar to all DCHS band students, but to use them in a new and different way; to recontextualize them. As time went on, Bob Bush asked me if I would be able to work in a tribute to two band students who had tragically died in the last few years: Blaise H.
$19.99
Nobody Love a Fairy When She's Forty - in C major (soprano key)
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Arthur Le Clerq
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Kim Kirkman
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Nobody Love a Fairy When She's
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Kim Kirkman
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SheetMusicPlus
Voice Duet Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.779671 Composed by Arthur Le Clerq. Arranged by Kim Kirkman. Broadway,Contemporary,Musi...
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Voice Duet Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.779671 Composed by Arthur Le Clerq. Arranged by Kim Kirkman. Broadway,Contemporary,Musical/Show,Traditional. Score. 4 pages. Kim Kirkman #6697501. Published by Kim Kirkman (A0.779671). This is a wonderful old comedy song.This is in C major - the high key for sopranosI have put in the first verse that Tessie sings, plus the spoken part. I have changed some of the words of the spoken part to update them.I have then constructed a third verse from other verses that Le Clerq wrote. To sing it exactly like Tessie please repeat first verse.Words:Verse:For years a fairy queen I've bin', For years I foiled the demon king.But alas, I'm getting on, The years have flown somehow,And I feel that Fairy Snowdrop isn't wanted now.Chorus One:Nobody loves a fairy when she's forty.Nobody loves a fairy when she's old.She may still have her magic power, But that is not enough,They like their bit of magic from a younger bit of fluff.When once your silver star has lost its glitter,And your tinsel looks like rust instead of gold.Your fairy days are ending when your wand has started bending.Noone loves a fairy when she's old.Spoken:T'was I who found the magic wand, I will not tell you where.T'was I who found young Tinkerbell, her head was full of airI’ve been a fairy of the flowers, and fairy daffodils,I’ve been a fairy of the wind, and suffer from it still!In certain covered valley hills I go down to the glenBeen loved by all the children and run after by the men. Huh!Noone could touch me at me splits, me splits were all the rage,Until the night woodman left his chopper on the stage, what a mess!Verse 2:Nobody loves a fairy when she's forty.Nobody loves a fairy when she's old.As far as I can see they try to push you off the map,When once your wand has withered and your wings refuse to flap.When you have lost your little fairy dimples,And the mothholes in your dress let in the cold,It seems that they would sooner listen to a blinkin' crooner,Noone loves a fai-y when she's old!
$1.99
Nobody Loves a Fairy When She's Forty sung by Tessie O'Shea (low key)
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Piano, Voice
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EASY
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Arthur Le Clerq
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Kim Kirkman
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Nobody Loves a Fairy When She'
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Kim Kirkman
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SheetMusicPlus
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.779670 Composed by Arthur Le Clerq. Arranged by Kim Kirkman. Broadway,Contemporary,Musical/Show,Tr...
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Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.779670 Composed by Arthur Le Clerq. Arranged by Kim Kirkman. Broadway,Contemporary,Musical/Show,Traditional. Score. 4 pages. Kim Kirkman #6697499. Published by Kim Kirkman (A0.779670). This is a wonderful old comedy song.I have put it into the key that Tessie O'Shea sings it (Ab major)I have put in the first verse that Tessie sings, plus the spoken part. I have changed some of the words of the spoken part to update them.I have then constructed a third verse from other verses that Le Clerq wrote. To sing it exactly like Tessie please repeat first verse.Words:Verse:For years a fairy queen I've bin', For years I foiled the demon king. But alas, I'm getting on, The years have flown somehow, And I feel that Fairy Snowdrop isn't wanted now. Chorus One:Nobody loves a fairy when she's forty. Nobody loves a fairy when she's old. She may still have her magic power, But that is not enough, They like their bit of magic from a younger bit of fluff. When once your silver star has lost its glitter, And your tinsel looks like rust instead of gold. Your fairy days are ending when your wand has started bending. Noone loves a fairy when she's old.Spoken:T'was I who found the magic wand, I will not tell you where.T'was I who found young Tinkerbell, her head was full of airI’ve been a fairy of the flowers, and fairy daffodils,I’ve been a fairy of the wind, and suffer from it still!In certain covered valley hills I go down to the glenBeen loved by all the children and run after by the men. Huh!Noone could touch me at me splits, me splits were all the rage,Until the night woodman left his chopper on the stage, what a mess! Verse 2:Nobody loves a fairy when she's forty. Nobody loves a fairy when she's old. As far as I can see they try to push you off the map, When once your wand has withered and your wings refuse to flap. When you have lost your little fairy dimples, And the mothholes in your dress let in the cold, It seems that they would sooner listen to a blinkin' crooner, Noone loves a fai-y when she's old!
$1.99
'A golden time ...' from Ariadne auf Naxos
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Guitar
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INTERMEDIATE/ADVANCED
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Classical
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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'A golden time ...' from Ariad
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
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Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
Carson Cooman: Nine Preludes for piano
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Piano solo
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INTERMEDIATE/ADVANCED
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Carson Cooman
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Carson Cooman: Nine Preludes f
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.533554 Composed by Carson Cooman. Concert,Contemporary,Standards. Score. 37 pages. Musik Fabrik Music Pub...
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Piano Solo - Level 4 - Digital Download SKU: A0.533554 Composed by Carson Cooman. Concert,Contemporary,Standards. Score. 37 pages. Musik Fabrik Music Publishing #3018601. Published by Musik Fabrik Music Publishing (A0.533554). I. (Flowing)II. (Fast, nimble)III. (Funereal) (in memoriam Donald Martino)IV. (Dancing)V. (Distant, echoing) (for Richard and Dee Wilson)VI. (Moderate, singing, with humor) (for Michael Finnissy)VII. (Slow, very lyrical)VIII. (March)IX. (Envoi: Very slow, from afar)Nine Preludes (2007) for piano was written for and is dedicated to pianist Marilyn Nonken; it was commissioned byRichard Mason.Although the work is composed as a set of discrete movements, the preludes are very much interconnected, as motivicand developmental ideas run throughout the entire set. The basic musical material (founded upon collections of minorand major thirds) is shared among all nine movements. An elegiac quality runs throughout the work.The first prelude (Flowing) is inspired by the piano music of Johannes Brahms, whose contributions to the instrument’sliterature have been a significant and ongoing influence on my work.The second prelude is fast and bright. Consistent staccato textures are maintained as the two hands intertwine.The third prelude (Funereal) is dedicated to the memory of American composer Donald Martino (1931–2005). The musicrefers very obliquely to Martino’s setting of Robert Herrick’s poems of death and eternity in The White Island (1985).The fourth prelude (Dancing) is light and buoyant. After a melodic middle section, the opening music reverses itself to theend.The fifth prelude (Distant, echoing) is dedicated to Richard and Dee Wilson. Through large blocks of sustained sound (bothquiet and loud), the movement explores certain harmonic colors of the piano.The sixth prelude (Moderate, singing, with humor) is dedicated to English composer Michael Finnissy. The opening ismarked “like an ‘off-kilter’ folk song,†and this original melody is subjected to a variety of transformations and textures.The rhythmic patterns are constantly in flux.The seventh prelude (Slow, very lyrical) is melodic and passionate, with a nocturnal character. The middle builds to anintense climax before dying away.The eighth prelude (March) is spiky and crisp. In the trio, the march theme is turned first into a tonal ballad beforegradually transforming back into the language of the march. A faster reprise of the opening music follows.The ninth prelude (Envoi: Very slow, from afar) is an elegaic “farewell.†Romantic gestures and harmonies try to assertthemselves before the music dies away.Performance Note: Although it is preferred that the entire set of nine preludes be played in concert, individual preludes (or smallerassembled groupings) may be performed when necessary for programming needs. If the entire set is played, however, the order of thepreludes should not be changed. The movements should be listed in the program in the format shown at the top of this page.Recorded by Donna Amato on Carson Cooman: Piano works ALTARUS AIR-CD-9015
$25.95
Overheard on a Saltmarsh and A Strange Story - two songs for upper voices
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Choral 2-part
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EASY
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Alan Bullard
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Overheard on a Saltmarsh and A
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Colne Edition / BullardMusic
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SheetMusicPlus
Choral Choir (2-Part) - Level 2 - Digital Download SKU: A0.1036255 Composed by Alan Bullard. Children,Classical,Contemporary. Octavo. 11 pages. Colne Edi...
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Choral Choir (2-Part) - Level 2 - Digital Download SKU: A0.1036255 Composed by Alan Bullard. Children,Classical,Contemporary. Octavo. 11 pages. Colne Edition / BullardMusic #641363. Published by Colne Edition / BullardMusic (A0.1036255). These two songs are for young voices in two parts, optional descant recorder, and piano. Overheard on a Saltmarsh is an evocative setting of mysterious words by Harold Munro: the colourful song blends an easy melodic line with rich harmonies and spoken effects. A Strange Story is a lively and humorous setting of a traditional nonsense poem, exchanged between the two voices, which makes sense if the punctuation is changed! The separate optional recorder part is attached to the end of this file. Alan Bullard’s choral works are performed worldwide, and many have been recorded and broadcast. He has a growing reputation for music that choirs enjoy performing, and which speaks directly to audiences. The Colne Choral Series contains a range of Bullard’s pieces for adult and youth choirs of all types, including cantatas and choral suites as well as individual movements. For full details please visit www.colneedition.co.uk or www.alanbullard.co.uk.
$1.99
Big Strong Man (My Brother Sylvest)
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C Instruments
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BEGINNER
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The Wolfe Tones
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Thomas Degan
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Big Strong Man
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Thomas Degan
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SheetMusicPlus
C Instrument - Level 1 - Digital Download SKU: A0.1511772 By The Wolfe Tones. By Fred Fisher, Jesse Lasky, and Sam Stern. Arranged by Thomas Degan. 20th ...
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C Instrument - Level 1 - Digital Download SKU: A0.1511772 By The Wolfe Tones. By Fred Fisher, Jesse Lasky, and Sam Stern. Arranged by Thomas Degan. 20th Century,Celtic,Comedy,Folk,Irish,Traditional. Lead Sheet / Fake Book. 2 pages. Thomas Degan #1086922. Published by Thomas Degan (A0.1511772). My Brother Sylvest' also known as Big Strong Man, is an American song, but often performed by English folk singers and Irish bands.My Brudda Sylvest' was written in 1908, words by Jesse Lasky and Sam Stern, music by Fred Fisher.The song is written in an Italian-American dialect about the singer's eponymous brother, described in hyperbolic terms as a man of legendary strength capable of extraordinary feats. The original lyric has him blowing out a house fire, pushing the ocean away to allow him to walk to Italy, killing fifty thousand [native American] Indians, and drinking the ocean dry.Subsequent versions changed the references from the boxer John L. Sullivan to the Jeffries-Johnson fight of 1910, to American boxer Jack Dempsey, who started boxing in 1914, and even to John Conteh of Great Britain, who fought in the 1970s. Other changes have included the saving of the RMS Lusitania, sunk during the first World War, and swimming from New York to Italy, drinking all the water in the sea, playing every instrument in a brass band in a visit to Japan.
$3.99
Still, a sacred hymn
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Choral SATB
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INTERMEDIATE/ADVANCED
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Sacred music
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Kevin G
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Still, a sacred hymn
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Kevin G. Pace
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1099749 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Christmas,Praise & Wo...
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1099749 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Christmas,Praise & Worship,Sacred,Spiritual. Octavo. 3 pages. Kevin G. Pace #703624. Published by Kevin G. Pace (A0.1099749). A beautiful Christmas hymn with music by Kevin G. Pace and text by Mary Ann W. Snowball. Text: When I think of Bethlehem and its silent slopes, Lighted by a glowing star bringing man new hope, I remember Mary's Child from so long agoHow He grew to save the world: Love for all to know. Still He lights the weary world; Jesus is His Name. Still He brings eternal hope; still He is the same. When I think of Bethlehem and its silent slopes, Lighted by a glowing star bringing man new hope, I remember Mary's Child from so long agoHow He grew to save the world: Love for all to know. Still He lights a weary world; Jesus is His Name. Still He gives the greatest gift. Still He is the same. Stillness covered Bethlehem; Stillness calls today. Bringing quiet reverence, He's the only way. Open hearts receive his words. Listen, if you will. Holy voices clearly call to the world: Be still! Holy voices call Be still! Still I ponder Bethlehem at that sacred place. Mary's Child so willingly brought the world His grace. Just a tiny Baby's love, born for all man kind. Changed the world that star lit night past the reach of time.
$1.99
Jesu, Joy Of Man's Desiring
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Piano solo
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Classical
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Johann Sebastian Bach
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Louis Drummond
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Jesu, Joy Of Man's Desiring
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Louis Drummond Van Rensburg
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SheetMusicPlus
Piano Solo - Digital Download SKU: A0.800930 Composed by Johann Sebastian Bach. Arranged by Louis Drummond. Jazz,Pop,Rock. Score. 4 pages. Louis Drummond...
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Piano Solo - Digital Download SKU: A0.800930 Composed by Johann Sebastian Bach. Arranged by Louis Drummond. Jazz,Pop,Rock. Score. 4 pages. Louis Drummond Van Rensburg #6461441. Published by Louis Drummond Van Rensburg (A0.800930). Jesu, Joy Of Man's Desiring is one of the most popular choral compositions of Johann Sebastian Bach, It was composed around 1714 - 1716, during Bach's first year in Weimar. In 1926 it was arranged by the British pianist Dame Myra Hess and became a popular piano recital selection, and over the years a very popular piece to play at weddings.In my solo piano arrangement for intermediate students, I changed the 3/4 time signature to 12/8 and gave it a faster shuffle style tempo.
$6.99
Here Comes Your Man
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Pixies
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Dico
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Here Comes Your Man
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Dico Ferreira
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SheetMusicPlus
Small Ensemble Clarinet,Flute,Harp,Oboe,Piano,Viola,Violin - Level 2 - Digital Download SKU: A0.513230 By Pixies. By Frank Black. Arranged by Dico. Pop,R...
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Small Ensemble Clarinet,Flute,Harp,Oboe,Piano,Viola,Violin - Level 2 - Digital Download SKU: A0.513230 By Pixies. By Frank Black. Arranged by Dico. Pop,Rock,Wedding. Score and parts. 23 pages. Dico Ferreira #123989. Published by Dico Ferreira (A0.513230). WEDDING SERIES - a set of popular songs and wedding standards that I have arranged for years. The formations are varied, from duos to orchestras with choir. The majority are mixed/flexible sextets in which some instruments can be replaced and the ensembles can be totally changed. Some arrangements have shortened versions. These options are provided in my catalogue.HERE COMES YOUR MAN - originally made for flute, violin and harp, this arrangement allows for other formations in part 1 and part 2, such as 2 wind instruments, 2 strings or any combination of these. It is preferable that the two parts are in different octaves (part 1 above). The harp part can be performed by a piano.- Part 1: Flute (Oboe | Clarinet | Violin)- Part 2: Violin (Oboe | Clarinet | Viola)- Harp (Piano)
$20.00
Here Comes Your Man
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Pixies
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Dico
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Here Comes Your Man
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Dico
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SheetMusicPlus
Small Ensemble Clarinet,Flute,Harp,Oboe,Piano,Viola,Violin - Level 2 - Digital Download SKU: A0.842953 By Pixies. By Frank Black. Arranged by Dico. Pop,R...
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Small Ensemble Clarinet,Flute,Harp,Oboe,Piano,Viola,Violin - Level 2 - Digital Download SKU: A0.842953 By Pixies. By Frank Black. Arranged by Dico. Pop,Rock,Wedding. Score and parts. 23 pages. Dico #6425331. Published by Dico (A0.842953). WEDDING SERIES - a set of popular songs and wedding standards that I have arranged for years. The formations are varied, from duos to orchestras with choir. The majority are mixed/flexible sextets in which some instruments can be replaced and the ensembles can be totally changed. Some arrangements have shortened versions. These options are provided in my catalogue.HERE COMES YOUR MAN - originally made for flute, violin and harp, this arrangement allows for other formations in part 1 and part 2, such as 2 wind instruments, 2 strings or any combination of these. It is preferable that the two parts are in different octaves (part 1 above). The harp part can be performed by a piano.- Part 1: Flute (Oboe | Clarinet | Violin)- Part 2: Violin (Oboe | Clarinet | Viola)- Harp (Piano)
$20.00
Seeds Along the Way (a musical about the life of David)
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Piano, Vocal and Guitar
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EASY
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Paul Addison
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Paul Addison
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Seeds Along the Way
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Paul Addison
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1126233 Composed by Paul Addison. Arranged by Paul Addison. Broadway,Children,Christian,Mus...
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1126233 Composed by Paul Addison. Arranged by Paul Addison. Broadway,Children,Christian,Musical/Show. Score. 55 pages. Paul Addison #726936. Published by Paul Addison (A0.1126233). Seeds Along the Way is a musical about the life of the biblical King David, written by Paul Addison. David gets to see the major events of his life with the help of his guardian angel, Gabrielle. This manner of storytelling combines elements of It’s a Wonderful Life, A Christmas Carol, and the old TV show This Is Your Life. Each event in David’s life is told through a song. It was originally written as a VBS (Vacation Bible School) musical. Although everyone in Israel is singing his praises, David questions the purpose of his life. Gabrielle shows him that everyone’s life is important, and that the good things that we do are like seeds planted along the way, which may not sprout and grow until much later. After reviewing his past, David is given a glimpse of the future, and realizes that he is one of many who are preparing for the coming of Jesus Christ. The musical is based on the stories from the Bible, mainly from 1 and 2 Samuel, but also including a Psalm and a geneaology listing from Matthew. David throws in a couple of bad puns as he tries to understand what Gabrielle is trying to tell him. The accompaniment is written for piano, but is appropriate for a praise team or a small dance band. The styles are quite varied, including cha-cha, pop, bossa nova, ballad, dirge, blues, jazz, and waltz. The piano accompaniment could be supplemented by percussion instruments (tambourine, maracas, woodblock, cowbell, etc.), as well as guitar, saxophone, and drums. The songs are at an Easy Intermediate level. The only stage requirements are a small balcony or elevated level with a railing or fence, and a floor area for the chorus. The musical consists of 10 scenes, but the two narrator characters remain on the balcony, and the floor area only needs to be changed in case the chorus members use different costumes and/or props for the different scenes. I hope you enjoy this musical. Address any questions to me at paulhaddison@gmail.com.
$12.99
I Took My Harp to a Party sung by Gracie Fields - harp and voice (low key)
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Noel Gay and Desmond Carter
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Kim Kirkman
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I Took My Harp to a Party sung
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Kim Kirkman
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SheetMusicPlus
Small Ensemble Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.779558 Composed by Noel Gay and Desmond Carter. Arranged by Kim Kirkman. Broadway,C...
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Small Ensemble Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.779558 Composed by Noel Gay and Desmond Carter. Arranged by Kim Kirkman. Broadway,Christmas,Contemporary,Musical/Show. Score. 4 pages. Kim Kirkman #5298287. Published by Kim Kirkman (A0.779558). I Took My Harp to a PartyAs sung by Gracie FieldsArranged for harp and low voiceI have changed some of the words and some of the harmonies from the original to make it more accessibleIn key of C (no levers required)
$3.99
I Took My Harp to a Party sung by Gracie Fields - harp and voice (high key)
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Noel Gay and Desmond Carter
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Kim Kirkman
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I Took My Harp to a Party sung
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Kim Kirkman
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SheetMusicPlus
Small Ensemble Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.779559 Composed by Noel Gay and Desmond Carter. Arranged by Kim Kirkman. Broadway,C...
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Small Ensemble Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.779559 Composed by Noel Gay and Desmond Carter. Arranged by Kim Kirkman. Broadway,Christmas,Contemporary,Musical/Show. Score. 4 pages. Kim Kirkman #5298291. Published by Kim Kirkman (A0.779559). I Took My Harp to a Party sung by Gracie Fields arranged for harp and high voiceIn the key of F (1 flat) No additional lever changes requiredI have changed some words and harmonies to make it more accessibleFantastic for harp/singer recitals or if the harp player can sing - even betterVery funny.
$3.99
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