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The Story Of Reuben Clamzo & His Strange Daughter
Choral TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…
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Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
3.59 €
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Choral TTBB
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Arlo Guthrie
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The Story Of Reuben Clamzo & His Strange Daughter
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Edition Craig Hanson
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SheetMusicPlus
The Oboe
Piano Quartet - Level 5 - Digital Download SKU: A0.1329920 Composed by James E. And…
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Piano Quartet - Level 5 - Digital Download SKU: A0.1329920 Composed by James E. Andersson. 19th Century,21st Century,Classical,Comedy,Contemporary. 35 pages. Sahale Studios #917904. Published by Sahale Studios (A0.1329920). Once there was an oboist who was a member of a chamber ensemble consisting of flute, oboe, cello, and, piano. The oboist was highly skilled; a virtouoso who could ornament without the slighest effort. They were notorious for doing so.One day during dress rehearsal, the oboist, familiar enough with the music began ornamenting and adding stylistic flourishes, becoming increasingly carried away with their part. It finally reaches a point where the others stop playing and let the oboe go completely overboard with a full cadenza. Not far into the solo, the oboe realizes everyone else has stopped playing and stops themself and the rehearsal continues. However, not much farther along, the oboist becomes carried away in their part again, resulting in the other musicians pausing again as the oboist proceeds into another cadenza passage before realizing the others have stopped again.The rehearsal continues, and they all get further along (due to the oboe simply not playing), but when the oboe plays the melody, the ornaments and finesse return in full display, and finally the piano cuts the oboe off. At the slightest hint of an ornament all the other musicians in the ensmeble join in and cut off the oboe. From this, the oboist sinks into low spirits.The rehearsal continues unabated through the next section, and when the oboist enters, they play their part as written, but the ornamentations begin creeping in again. But rather than admonish the oboist the others instead speed the music up into the recapitulation section and for the remainder of the piece and rehearsal they all go wild with flourishes and ornamentations of their own, bringing the piece to a rollicking and lively conclusion.
$22.99
20.68 €
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James E
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The Oboe
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Sahale Studios
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SheetMusicPlus
The Bare Necessities
Piano solo
Piano Solo - Level 2 - Digital Download SKU: A0.1277927 Composed by Terry Gilkyson.…
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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. 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. I arranged this piece originally with my younger piano students in mind, who have smaller hands than most adults. That’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. 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). 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 “touchâ€. 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. Listening to the recording will also help with discovering dynamic possibilities. I didn’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.
$4.99
4.49 €
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Piano solo
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the way, there are a few bars where you hear me playing straight eighths on the recording
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Terry Gilkyson
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The Bare Necessities
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Thomas Gunther Music Productions
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SheetMusicPlus
Git Along Little Dogies [SA(T)B]
Choral SATB
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.891191 Composed by Traditi…
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.891191 Composed by Traditional. Arranged by Laurie Betts Hughes. Contemporary,Folk,Traditional. Octavo. 16 pages. Dandelion Music Press #3103589. Published by Dandelion Music Press (A0.891191). An ideal SATB choice for Middle School/early High School changing voice and developing ensembles of all ages, this boy-friendly accompanied concert arrangement explores the cambiata voice, male vocal registers, and encourages enthusiastic use of the falsetto and upper range through the use of an appealing yodel. Ask your choristers to bring their guitars, ukuleles, mandolins, and banjos and strum along!Conceived using the SA(T)B concept (http://www.dandavisonmusic.com/what-is-satb.html) and also available in Two-Part Treble and Unison voicings, Git Along Little Dogies is a traditional American cowboy ballad. The melody and lyrics were first published in 1910 in John Lomax's Cowboy Songs and Other Frontier Ballads, though the song has existed long before publication in the anonymous aural tradition of folk music. Since selling cattle was quite profitable, a crew of cowboys drove a herd, particularly from Texas, to railheads where they would be loaded into railcars and shipped cross-country to get the best price at market. Cowboys watched the cattle 24 hours a day, herding them in the proper direction in the daytime and watching them at night to prevent stampedes and deter theft. Around the campfire, cowboys sang of life on the trail with all the challenges, hardships, and dangers encountered along the way.E. C. Teddy Blue Abbott, honored in the Montana Cowboy Hall of Fame, explains The singing was supposed to soothe the cattle and it did... The two men on guard would circle around with their horses on a walk, if it was a clear night and the cattle was bedded down and quiet, and one man would sing a verse of a song, and his partner on the other side of the herd would sing another verse; and you'd go through a whole song that way.Notable performances: 2016 Idaho Middle School All-State Choir, inaugural year | 2016 Northshore 6th Grade Honor Choir, boys2017 Choral Contest EntryLaurie Betts Hughes, ASCAP | www.LaurieBettsHughes.com
$2.10
1.89 €
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Choral SATB
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Traditional
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Git Along Little Dogies [SA(T)B]
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Dandelion Music Press
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SheetMusicPlus
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Rod…
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published by Jenni Roditi (A0.1497852). Piano Duo 2 pianos/4 hands. Curve, Between the Octaves points to a fugal past, where lines enter and build in stately flow. It invites lines to intermingle, without assuming they will all arrive somewhere, or at the same time. A certain intensity builds, then scales, both up and down, free themselves from the discussion of the interleaving lines. The chromaticism suggests curving between harmonies, and is nearly always ambivalent. An assertive chordal climax intervenes to shake off the tensions, yet this peels away into further curvatures that twist and twirl, until a final resting point agrees to present itself. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
17.99 €
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dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
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Jenni Roditi
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CURVE, Between the Octaves - A Piano Duo Suite
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Jenni Roditi
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SheetMusicPlus
Irish National Anthem (Unofficial) for String Orchestra
String Orchestra
String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Ke…
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String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Keith Terrett. 20th Century, European, Patriotic. Score, Set of Parts. 10 pages. Published by Music for all Occasions
Londonderry Air arranged for String Orchestra.<br> <br> A big band version of the song is used as the theme for The Danny Thomas Show (a.k.a. Make Room For Daddy).<br> <br> "Danny Boy" was used to represent Northern Ireland at the start of the London 2012 Olympics opening ceremony, sung by a choir of children on the Giant’s Causeway.<br> <br> On November 25, 2014, the Vancouver Canucks used the song in honor of the recently deceased Pat Quinn, who played and worked in many executive capacities for the team.<br> <br> There are various theories as to the true meaning of "Danny Boy". Some listeners have interpreted the song to be a message from a parent to a son going off to war or leaving as part of the Irish diaspora.<br> <br> The 1918 version of the sheet music included alternative lyrics ("Eily Dear"), with the instructions that "when sung by a man, the words in italic should be used; the song then becomes "Eily Dear", so that "Danny Boy" is only to be sung by a lady". In spite of this, it is unclear whether this was Weatherly’s intent.<br> <br> Why the name Londonderry Air? Londonderry and Derry refer to the same place, a city in the north of Ireland, and also to the surrounding county. Supposedly the city of Derry was founded by St. Colmcille, although archaeological evidence shows that people were living there thousands of years earlier. There is an excellent museum in the city, which is worth a visit if you want to find out more. The name of the city was actually "Doire", corrupted to "Derry" by people who can’t pronounce Irish. It thought to derive from an Irish root meaning "oak tree".<br> <br> Moving quickly along in history, about a millenium later the government of England was having a difficult time colonizing Ireland because of the fierce and warlike clans living there, especially in the north of the country, Ulster. The monarchs of England, almost all of whom were notorious cheapskates, were continually looking about for ingenious ways to conquer places without actually having to put up the money themselves, or run the risk of unpopularity if they lost. In the case of Ireland, some of these schemes of the "Brish gummit" (as it is termed nowadays in Ulster) are still producing unfortunate long-term consequences.<br> <br> In 1608, King James I gave the city of Derry to the City of London corporation. I guess the deal could be summed up by saying that if the City of London could figure out a way to chase all the inhabitants out of Derry, they would be allowed to keep the loot, minus a percentage for the King of course. If they lost, well too bad. In celebration of this historic agreement, the name of Derry was officially changed to Londonderry. (For further information, check out the Northern Ireland Tourist Board’s History of Derry.)<br> <br> The linguistic outcome of all this today is that, if you think that King James’s deal with the City of London was a good idea, you call both the city and county "Londonderry". If you do, you are probably a supporter of the Unionist movement that seeks to keep Ulster a part of the United Kingdom. If you think it was a bad idea, you call both "Derry", and you are probably a supporter of the Irish Nationalist cause. Or you might just be someone who thinks it’s confusing for kings to be going around changing the names of places all the time for no good reason.<br> <br> You can find plenty of discussion about the political side of the question elsewhere, but here let’s look at the musical side. We have an air, collected in county Derry/Londonderry, and it doesn’t have a title. What do we call it?<br> <br> If you were a proper Victorian, there’s no way you were going to call it the Londonderry Air, much less the Derry Air, because of the improper sentiments that these titles might suggest. My parents tell me that in their youth in Australia, it was usually called the Air from County Derry. (This would, I suppose, support Winston Churchill’s theory that Australia was inhabited by "convicts and Irishmen".)<br> <br> My mother also sends the following information, referring to an arrangement of the tune by the Australian composer Percy Grainger:<br> <br> Just another note about Danny Boy, that I grew up in Australia believing to be the Air from County Derry. We were looking through some LP’s last night (back to vinyl yet!) and found a Mercury Wing Classical Favorites stereo LP SRW18060, COUNTRY GARDENS and other favorites by Percy Grainger {played by} Eastman-Rochester Pops, Frederick Fennell, conducting. The cover notes included the following: "Irish Tune from County Derry was harmonised in memory of Irish childhood friends in Australia." Considered by many to be Grainger’s masterpiece of harmonization, the tune was collected many years ago by Miss Jane Ross of New Town, Limavady, Ireland. Grainger has set it for many instrumental combinations. So there’s another variant on the name for it. It doesn’t say who wrote the notes, but the bits in quotes for each of the works on the record are Grainger’s original comments.<br> <br> The references to Londonderry Air that I’ve seen don’t go back any earlier than the late 1930s. For example, the Glenn Miller Orchestra recorded Danny Boy (Londonderry Air) in February 1940. Bing Crosby’s version was recorded in July 1941 (reference). (So many different things I could check up on!) Londonderry was an important American naval base during WWII, but the US hadn’t come into the war in 1940.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com<br> <br> Contact Publisher Related Scores
$8.99
8.09 €
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String Orchestra
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trad
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Irish National Anthem
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Music for all Occasions
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SheetMusicPlus
IGNITE, Between the Octaves - A Piano Duo Suite (Movement 7 of 7)
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by…
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074279. Published by Jenni Roditi (A0.1497866). Piano Duo - 2 pianos/4 hands. Ignite, Between the Octaves began with the impetus of static ‘pulsation’ (its original title) on repeated octaves. The piece is a fizzing dash of nodal vortices, small, then larger, spinning and tumbling and all the way to the finish line. This piece brings the complete suite of 7 pieces to a dynamic close, with a sense of ignition to new beginnings. The music echoes the opening F octaves of Initiate (movement 1). Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
17.99 €
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dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
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Jenni Roditi
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IGNITE, Between the Octaves - A Piano Duo Suite
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Jenni Roditi
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SheetMusicPlus
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by…
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. Published by Jenni Roditi (A0.1497861). Piano Duo 2 pianos/4 hands. Ritualise, Between the Octaves finally found its identity with the word ritualise. It began as announce, became pronounce, then declare and went as far a pontificate for a title. At that point I realised I was mocking my own music and needed to take it more seriously. Ritualise brought out a meaning to the music that I hadn’t wanted to admit to. It is quite folk-like, in a primal and entrancing kind of way. I can imagine a communal dance for some ceremonial purpose in this music with both public and private elements.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
17.99 €
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dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
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Jenni Roditi
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RITUALISE, Between the Octaves - A Piano Duo Suite
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Jenni Roditi
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SheetMusicPlus
Jack's Journey - A new Musical by David Catherwood, inspired by the boyhood adventures of CS Lewis (
Choral Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.739502 Composed by Da…
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Choral Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.739502 Composed by David Catherwood. Broadway,Children,Musical/Show. Score. 60 pages. Opus 3 Music #6052583. Published by Opus 3 Music (A0.739502). 'Jack's Journey'(A new Musical by Adeline Dinsmore and David Catherwood)Piano and vocal score (contains 7 songs plus overture and incidental music) plus Script - $9.50Duration c.40 minutesIdeal for schools, youth groups or adult dramatic/musical companies.Requirements - Narrator, Chorus, (unison/2part) Soloists, Actors, Piano accompanimentOptional - Dancers, orchestral parts for Flute, Clarinet. Trumpet, Horn, Strings, Percussion and Bass/guitar About the Musical A great story about one of the 20th century’s greatest storytellers. Carefully researched, yet full of fun, this entertaining musical tells the story of the early part of CS Lewis' life from the time of his mother's death in 1908 until his arrival as a student at Oxford in 1916. (Throughout his life CS Lewis was always known as Jack) This new work was premiered at the end of 2019 at the annual CS Lewis Festival held in Ireland. (CS Lewis’ birthplace) It proved to be a great success and was very enthusiastically received. Synopsis Jack’s Journey is a whimsical re-imagining of the childhood journeys of CS Lewis - each of the seven songs representing a stop along the way to his eventual career as the writer of the Narnia Chronicles. The story is told through music relating his memories and significant episodes from his schooldays up to his entry into Oxford. Living almost entirely in his imagination as a small boy, the seeds of the world of Narnia are already beginning to grow in his writing and drawings. Little Lea, his childhood home, provides the setting for the early scenes. Following the death of his mother the young Jack has his first experience of school and England. He endures with fortitude the harsh regime of boarding school and begins to recognise the value of friendship, mutual support and the courage that children can show in adversity. He returns to Ireland and to Campbell College – a much more positive experience. Illness brings his attendance at Campbell to an end. Returning to Little Lea, Jack imagines the world of fairies and dwarves, a world beyond our own. He returns to school in England and comes under the influence of a variety of teachers. Expelled from Malvern, Jack next falls under the influence of his great mentor, Professor Kirkpatrick – the model for the Professor of The Lion, the Witch and the Wardrobe. Jack’s Journey concludes with the anticipated arrival of a great hero, the hero of the first of the Narnian Chronicles, Aslan, the lion. ‘Jack’s Journey’ gives opportunity for young actors, (supported if desired by adults, taking the parts of the grown-ups.) There are short dramatic scenes, plenty of chorus work, opportunity for choreography and many solo spots for vocalists in the songs which are milestones in the story. List of Songs (the sample pages and mp3 file gives a chance to see and hear the first page of most of the songs) 1 Soft through the window 2 Kingdom of Mourne 3 Little Lea 4 Campbell Days - Boy to the left, Boy to the right 5 The Dandy's song 6 The Scholar's song 7 Strength and honour As will be evident from the above, there is plenty of flexibility regarding the scale of the performance. ‘Jack’s Journey’ may be staged using relatively modest outlay – for example, the premiere did not have a set because the venue for the performance was an actual railway station! The piece certainly allows for imaginative approaches to design and staging. In terms of the additional challenges presented by 2020 the length of the musical at 40 minutes helps in delivering a shorter theatrical experience. Also, the fully digital download of all performing materials allows for distribution via email Indeed the whole show could be effectively recorded and presented online as well as in person.
$9.50
8.54 €
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David Catherwood
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Jack's Journey - A new Musical by David Catherwood, inspired by the boyhood adventures of CS Lewis
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Opus 3 Music
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SheetMusicPlus
Jack's Journey - A Musical inspired by the boyhood adventures of CS Lewis (lyrics by Adeline Dinsmor
Large Ensemble,Strings Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.739501
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Large Ensemble,Strings Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.739501 Composed by David Catherwood. Broadway,Children,Musical/Show. Score. 323 pages. Opus 3 Music #6051989. Published by Opus 3 Music (A0.739501). A great story about one of the 20th century’s greatest storytellers. Carefully researched, yet full of fun, this entertaining musical tells the story of the early part of CS Lewis' life from the time of his mother's death in 1908 until his arrival as a student at Oxford in 1916. (Throughout his life CS Lewis was always known as Jack) This new work was premiered at the end of 2019 at the annual CS Lewis Festival held in Ireland. (CS Lewis’ birthplace) It proved to be a great success and was very enthusiastically received. Synopsis Jack’s Journey is a whimsical re-imagining of the childhood journeys of CS Lewis - each of the seven songs representing a stop along the way to his eventual career as the writer of the Narnia Chronicles. The story is told through music relating his memories and significant episodes from his schooldays up to his entry into Oxford. Living almost entirely in his imagination as a small boy, the seeds of the world of Narnia are already beginning to grow in his writing and drawings. Little Lea, his childhood home, provides the setting for the early scenes. Following the death of his mother the young Jack has his first experience of school and England. He endures with fortitude the harsh regime of boarding school and begins to recognise the value of friendship, mutual support and the courage that children can show in adversity. He returns to Ireland and to Campbell College – a much more positive experience. Illness brings his attendance at Campbell to an end. Returning to Little Lea, Jack imagines the world of fairies and dwarves, a world beyond our own. He returns to school in England and comes under the influence of a variety of teachers. Expelled from Malvern, Jack next falls under the influence of his great mentor, Professor Kirkpatrick – the model for the Professor of The Lion, the Witch and the Wardrobe. Jack’s Journey concludes with the anticipated arrival of a great hero, the hero of the first of the Narnian Chronicles, Aslan, the lion. ‘Jack’s Journey’ gives opportunity for young actors, (supported if desired by adults, taking the parts of the grown-ups.) There are short dramatic scenes, plenty of chorus work, opportunity for choreography and many solo spots for vocalists in the songs which are milestones in the story. List of Songs (the sample pages and mp3 file gives a chance to see and hear the first page of most of the songs) 1 Soft through the window 2 Kingdom of Mourne 3 Little Lea 4 Campbell Days - Boy to the left, Boy to the right 5 The Dandy's song 6 The Scholar's song 7 Strength and honour As will be evident from the above, there is plenty of flexibility regarding the scale of the performance. ‘Jack’s Journey’ may be staged using relatively modest outlay – for example, the premiere did not have a set because the venue for the performance was an actual railway station! The piece certainly allows for imaginative approaches to design and staging. In terms of the additional challenges presented by 2020 the length of the musical at 40 minutes helps in delivering a shorter theatrical experience. Also, the fully digital download of all performing materials allows for distribution via email Indeed the whole show could be effectively recorded and presented online as well as in person.
$75.00
67.45 €
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David Catherwood
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Jack's Journey - A Musical inspired by the boyhood adventures of CS Lewis
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Opus 3 Music
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SheetMusicPlus
The Year's At The Spring
Choral SATB
Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1363963 Composed by…
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Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1363963 Composed by Lila Senior. Broadway,Jazz,Musical/Show. 6 pages. Lila Senior #948282. Published by Lila Senior (A0.1363963). The Year's At The Spring - SATB choir and piano (Senior)Text by Robert Browning - from ‘Pippa Passes’ (1841)Easy choir arrangement with enjoyable voice parts.Duration approx. 2:45 / 6 pages.VIEW FULL SCORE with LEARNING TRACK here:https://youtu.be/XXlErIPPa-MSEPARATE VOICE PARTS LEARNING TRACKS here:Soprano: https://youtu.be/udYCn3YURM0Alto: https://youtu.be/FEmd4f7ximETenor: https://youtu.be/_EqRQK5cSWABass: https://youtu.be/YvQWwQ86ZmoPIANO BACKING TRACK also AVAILABLE to PURCHASE:The Year's At The Spring (Senior) - PIANO BACKINGThe year's at the spring And day's at the morn; Morning's at seven; The hillside's dew-pearled; The lark's on the wing; The snail's on the thorn: God's in His heaven— All's right with the world!Pippa is a happy and innocent young woman, out walking in the countryside one day, going from one village to the next; singing a happy little song as she goes. In her naivety and innocence, she sees kindness and virtue in all the people she passes along the way. But - unbeknown to her - there are sinister goings-on in the lives of all the characters she passes. However, on hearing her happy little tune - although Pippa is unaware of it - her song has a positive effect on all those people she passes, influencing them to change their ways and start acting for the good. A story about the power of song and positivity - and how that can affect others without us even realising it. This is Pippa’s song as she passes by.
$1.99
1.79 €
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Choral SATB
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Lila Senior
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The Year's At The Spring
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Lila Senior
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SheetMusicPlus
Down with the Smokers for voice and guitar
Vocal duet
Voice Duet Voice - Level 3 - Digital Download SKU: A0.576909 Composed by David Wari…
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Voice Duet Voice - Level 3 - Digital Download SKU: A0.576909 Composed by David Warin Solomons. 20th Century,Blues,Pop. 14 pages. David Warin Solomons #516085. Published by David Warin Solomons (A0.576909). I am so happy that smoking in enclosed public places is now illegal in the UK and in many other countries, but this song was written in the 1980s when people had to breath the pollution created by inconsiderate smokers, and, of course, there are still countries where this is the case. So I decided to publish the song even though the battle is thankfully won here. The sound sample is my own performance with some additional (un-notated) improvisations on cello and vibraphone. The pdf file contains the score and parts. The music has also been arranged as an instrumental duo called Laid back bounce, also available on this site. I went out this morning along the way to work when without warning I was faced with clouds of murk refrain: Sing Down with the smokers who infect the air with clouds hate their unthinking uncaring unblinking hate the stinking coughing crowds! I went down to the station and was waiting for my train but to my irritation the stinkers were there again. [refrain] Wouldn't it be pleasant to enjoy a drink in a theatre bar discussing the play or wouldn't it be jolly just to sing along with pals in a cozy pub along the way or wouldn't it be nice to go any where and not have to share with every breath some secondhand smoke and firsthand death. [refrain] I was eating my fav'rite curry but the air was getting thick and I felt I had to hurry because the smokers made me feel sick [refrain] It's fine bright hot and sunny and I'd love to have a drink but why spend time and money where the smokers sit and stink? [refrain] Wouldn't it be pleasant just to pass the time at a social do or a meeting hall or wouldn't it be jolly to dance the night away with the one you love at a disco or ball wouldn't it be nice to go any where and not have to share with every breath some secondhand smoke and firsthand death [refrain].
$8.00
7.19 €
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Vocal duet
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David Warin Solomons
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Down with the Smokers for voice and guitar
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David Warin Solomons
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SheetMusicPlus
Liltin Doon the Glen
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 3 - Digital Download SKU: A0.1440695 By Graham Hamilton. By Graham Hamilton. Celtic,Classical,Contest,Festival,Film/TV,Irish,Traditional. Brass Band. 38 pages. Hambone Music #1020663. Published by Hambone Music (A0.1440695). Aimed for intermediat brass bands, this piece starts with a gentle lilt (dance) which gather intensity until reaching a symphonic mazurka style dance in the middle.The second of my 'Peebles Beltane Festival Suite' is 'Liltin doon the glen' inspired from the line in the Festival Song. It's around the turn of the 20th century and the young lassies from the many farms and villages from the glens surrounding Peebles, leave their homes to come and enjoy the festival - 'To gather on the village green and hail the festal day' 'Lassies blooming fresh and fair cam liltin’ doon the glen' - they pause for breath now and again and as they join their friends along the way, the dance intensifies into a mazurka style. At 2:10 the fanfares herald the many compliments they get from 'Huntsman gallant and sheperds grey, doughtyand blythsome men' they encounter along the way. It culminates with all the lassies getherin' at the Mercat Cross. Festal Song Lyrics - https://tracscotland.org/wp-content/u... https://www.peeblesbeltanefestival.co...
$29.99
26.97 €
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Graham Hamilton
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Liltin Doon the Glen
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Hambone Music
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SheetMusicPlus
Shall We Gather At the River
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.1227001 Composed by Robert Lowry. A…
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Piano Solo - Level 3 - Digital Download SKU: A0.1227001 Composed by Robert Lowry. Arranged by Kirk Bullington. Christian,Religious,Sacred,Spiritual,Traditional. Score. 4 pages. Kirk Bullington #823008. Published by Kirk Bullington (A0.1227001). A small band heads to the river to be baptized. They pick up others along the way. As they arrive, they stop to admire the river, then glancing at each other, they all jump in.
$5.00
4.5 €
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Piano solo
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Robert Lowry
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Shall We Gather At the River
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Kirk Bullington
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SheetMusicPlus
Liltin Doon the Glen
Concert band
Concert Band - Level 3 - Digital Download SKU: A0.1438473 By Graham Hamilton. By Gr…
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Concert Band - Level 3 - Digital Download SKU: A0.1438473 By Graham Hamilton. By Graham Hamilton. Classical,Contemporary,Contest,Festival,Film/TV,Historic. 43 pages. Hambone Music #1018492. Published by Hambone Music (A0.1438473). A beutiful melody based on a 'lilt' which is a type of Scottish dance. Targetted at intermediate concert/school/symphonic bands (Grade 5 ABRSM)The second of my 'Peebles Beltane Festival Suite' is 'Liltin doon the glen' inspired from the line in the Festival Song. It's around the turn of the 20th century and the young lassies from the many farms and villages from the glens surrounding Peebles, leave their homes to come and enjoy the festival - 'To gather on the village green and hail the festal day' 'Lassies blooming fresh and fair cam liltin’ doon the glen' - they pause for breath now and again and as they join their friends along the way, the dance intensifies into a mazurka style. At the fanfares herald the many compliments they get from 'Huntsman gallant and sheperds grey, doughtyand blythsome men' they encounter along the way. It culminates with all the lassies getherin' at the Mercat Cross.
$30.00
26.98 €
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Concert band
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Graham Hamilton
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Liltin Doon the Glen
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Hambone Music
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SheetMusicPlus
A Mother's Day Song (in G)
Drum Set,Electric Bass Guitar,Flute,Piano Accompaniment - Level 1 - Digital Download SK…
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Drum Set,Electric Bass Guitar,Flute,Piano Accompaniment - Level 1 - Digital Download SKU: A0.1105013 By David Kai. By David Kai. Arranged by David Kai. Children,Christian,Comedy,Contemporary. Full Performance. Duration 82. David Kai #708258. Published by David Kai (A0.1105013). A fun song for Mother's Day for church and community. A MOTHER'S DAY SONG M is for the Math book that my Mother reads with me O is for the Oatmeal that I eat reluctantly T is for the “Thank you†I was always taught to say All of this is spelling out a Happy Mother’s Day It’s Mother’s Day, Happy Mother’s Day *Thanking God for mothers on this Happy Mother’s Day H is for the Heart that always shows her love for me E is for the Effort that she puts forth constantly R is for the Rules that keep me safe along the way All of this is spelling out a Happy Mother’s Day It’s Mother’s Day, Happy Mother’s Day *Thanking God for mothers on this Happy Mother’s Day It’s Mother’s Day, Happy Mother’s Day *Thanking God for mothers on this Happy Mother’s Day. *or “All of this is spelling out a Happy Mother’s Day†for use in non-church settings.
$1.99
1.79 €
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David Kai
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A Mother's Day Song
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David Kai
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SheetMusicPlus
The Story of a Leader
Choral SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1143904 Composed by Igor K…
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1143904 Composed by Igor Korneitchouk. 20th Century,A Cappella,Contemporary,Religious. Octavo. 37 pages. Studio at the Post #744209. Published by Studio at the Post (A0.1143904). Duration: 16 minutes, 33 pp. Description: Exodus is a great story that belongs to everyone. Not only is it central to Judaism, not only is it integral to the Christian Bible, it is an immortal story that has been, and continues to be, an inspiration to oppressed peoples everywhere on this planet. It is relevant not just as ancient scripture but as living text, to be rediscovered by each new generation of an ever-widening Family of Man. The theme of struggle against oppression and slavery was just as relevant to the early Christians persecuted in Ancient Rome as it was relevant to the American Civil Rights movement of the 1960's, just as relevant to the Soviet Jews wishing to emigrate as it is to the South African Blacks resisting Apartheid. From the Dark Ages and the Spanish Inquisition, to Ghandi's emancipation of India, to the Holocaust, to, full-circle, the ongoing struggles in Palestine today, the story of Exodus is a guiding light in a dim and often grim world. According to the composer: The Story of a Leader is a collection of ‘re-chorales’ I created one summer when I was totally immersed in a post-educational obsession with the 371 Chorales by Johann Sebastian Bach. We used to study these to learn the rules of harmony and voice-leading (no parallel fifths, avoid crossed voices, etc.) at the Cleveland Institute of Music where I began my compositional career. That summer, now a professor of music in my own right, I discovered many broken and bent rules by the master himself and, along with the glory of being able to work through these Chorales myself at the piano, I felt an incredible feeling of liberation and possibilities unmediated by instructors of music theory. I began by stripping away all that Bach wrote, leaving only the hymn tunes which were not his to begin with. These tunes existed long before Bach used them for his tonal experiments, some attributed to Martin Luther, or someone else, others simply listed as ‘anonymous’. The same is true for the texts, which were then translated into English mostly in the 19th century (the provenance of each can be found herein on the first page of each of my reharmonizations). In some cases I modified the text to fit the context. I selected 12 of these ‘re-chorales,’ linking them together based on their texts in a kind of logic that worked for me, and created a narrative that told The Story of a Leader (Moses). This story is highlighted in the music with such techniques as cross-modal harmonies, points of imitation, a beer drinking song in one instance, and in another, to symbolize the parting of the seas for Moses’ people, an inversion of the soprano line in the bass..
$15.04
13.53 €
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Choral SATB
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Igor Korneitchouk
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The Story of a Leader
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Studio at the Post
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SheetMusicPlus
Somewhere Along the Way (Samuel the Prophet) from "The Kings" - ACT 1:Song 7
Baritone voice, Piano
Baritone Horn TC,Vocal Solo,Voice - Level 3 - Digital Download SKU: A0.784820 Compo…
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Baritone Horn TC,Vocal Solo,Voice - Level 3 - Digital Download SKU: A0.784820 Composed by McCorkle, Dennis F. Broadway,Christian,Jewish,Musical/Show,Rock. 28 pages. DF McCorkle Music and eBook Publications #11729. Published by DF McCorkle Music and eBook Publications (A0.784820). ACT ONE: Song 7 The King, by Dennis McCorkle, is a contemporary pop-rock musical of the first two kings of Israel, Saul ben Kish and David ben Jesse and explores the contrasting lives and outcome of each man’s choices in life. [1 Samuel 10:18-19… - And he said to the children of Israel: Thus says Yahweh, the God of Israel: ‘I brought up Israel out of Egypt, and I delivered you out of the hand of the Egyptians, and out of the hand of all the kingdoms that oppressed you.’ 19 But you have this day rejected your God, who Himself saves you out of all your calamities and your distresses; and you have said unto Him: Nay, but set a king over us…] [1 Samuel 12:24-25 - Only fear Yahweh, and serve him in truth with all your heart; for consider how great things he hath done for you. But if you shall still do wickedly, you shall be consumed, both you and your king.] SAMUEL warns Saul and the people that if they follow God all will go well for them. If they do not, there will be severe repercussions [Somewhere Along the Way – Samuel]. As SAMUEL walks off, thunder and lightning start and the people scatter. Also included with your order is our new 20 page catalog of over 150 titles at no additional charge.
$2.99
2.69 €
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Baritone voice, Piano
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McCorkle, Dennis F
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Somewhere Along the Way
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DF McCorkle Music and eBook Publications
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SheetMusicPlus
A Father's Day Song (in D)
Drum Set,Electric Bass Guitar,Piano Accompaniment - Level 1 - Digital Download SKU: A0.…
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Drum Set,Electric Bass Guitar,Piano Accompaniment - Level 1 - Digital Download SKU: A0.1105007 By David Kai. By David Kai. Arranged by David Kai. Children,Christian,Comedy,Contemporary. Accompaniment. Duration 82. David Kai #708252. Published by David Kai (A0.1105007). A fun song for Father's Day for church and community. This is backing track to guide your singers. A FATHER'S DAY SONG F is for the Flapjacks that my father makes for me A is for the Armchair that we sit in comfort’bly T is for the “Thank you†I was always taught to say All of this is spelling out a Happy Father’s Day It’s Father’s Day, Happy Father’s Day *Thanking God for fathers on this Happy Father’s Day H is for the Haircut that my father tried to give E is for the Effort made to show me how to live R is for the Rules that keep me safe along the way All of this is spelling out a Happy Father’s Day It’s Father’s Day, Happy Father’s Day *Thanking God for fathers on this Happy Father’s Day (2x) * or “All of this is spelling out a Happy Father’s Day†for use in non-church settings.
$1.99
1.79 €
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David Kai
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A Father's Day Song
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David Kai
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SheetMusicPlus
A Father's Day Song (in G)
Drum Set,Electric Bass Guitar,Flute,Piano Accompaniment - Level 1 - Digital Download SK…
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Drum Set,Electric Bass Guitar,Flute,Piano Accompaniment - Level 1 - Digital Download SKU: A0.1105006 By David Kai. By David Kai. Arranged by David Kai. Children,Christian,Comedy,Contemporary. Full Performance. Duration 82. David Kai #708251. Published by David Kai (A0.1105006). A fun song for Father's Day for church and community. A FATHER'S DAY SONG F is for the Flapjacks that my father makes for me A is for the Armchair that we sit in comfort’bly T is for the “Thank you†I was always taught to say All of this is spelling out a Happy Father’s Day It’s Father’s Day, Happy Father’s Day *Thanking God for fathers on this Happy Father’s Day H is for the Haircut that my father tried to give E is for the Effort made to show me how to live R is for the Rules that keep me safe along the way All of this is spelling out a Happy Father’s Day It’s Father’s Day, Happy Father’s Day *Thanking God for fathers on this Happy Father’s Day (2x) * or “All of this is spelling out a Happy Father’s Day†for use in non-church settings.
$1.99
1.79 €
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David Kai
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A Father's Day Song
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David Kai
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SheetMusicPlus
Round Me Falls the Night
Choral SATB
Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1316582 By Stacey P…
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Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.1316582 By Stacey Plays Hymns. By W. Romanis / Stacey Plays Hymns. Arranged by Anastace. A Cappella,Christian,Religious,Sacred,Spiritual. 4 pages. Anastace #905306. Published by Anastace (A0.1316582). This beautiful evening hymn is a perfect pairing of a solemn, contemplative melody with uplifting, scriptural lyrics that remind us of the hope we have in Christ, in this life and the next. I found this song in a very old hymnbook, so old that you could feel the raised print on the page, and loved the lyrics so much and felt that a minor melody would suit it extraordinarily well. This piece works well as a choir anthem for funerals or for any evensong themed service, and is written in a comfortable, singable range for everyday singers. It works well either with a soft organ accompaniment or a capella, to showcase the rich vocal harmony reminiscent of Elaine Hagenburg or John Rutter.For other formats including large print or special congregtional versions contact me at staceyplayshymns@gmail.com and I'll be glad to make them especially for you. Please let me know if there is any other way I can serve you as a congregation or fellow music/choir director as I endeavour to write several new choral anthems per year, along with my other recording work.Thank you for supporting modern hymnwriters and musicians!As heard on YouTube!
$1.99
1.79 €
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Choral SATB
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Stacey Plays Hymns
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Round Me Falls the Night
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Anastace
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SheetMusicPlus
Colores (Let the Children Teach Us)
Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.12…
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Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.1256884 Composed by Lon W. Chaffin. 21st Century,Chamber. 71 pages. LCS Productions #850272. Published by LCS Productions (A0.1256884). Imagine a place where cultures are blended and people of all races can laugh, play, sing, dance, and even pray together.  Colores is a musical tale in which children show us how to create such a place.A child walks on to a deserted playground, looking for others.  Another child joins.  They introduce themselves and begin to talk to each other.  A third joins the conversation, then another, and another, until there is a large group of children, creating a colorful, contrapuntal cacophony of vocal chatter.  After the introductions and lively conversations, they pause to decide what to do next.  As would be expected, they decide to just play.  They run races, play chase and tag, catch and kickball, and laugh and giggle until their energy is gone.  Settling down, and wondering what to do next, one child begins singing a tune that is familiar.  …but not to all of them.  So, it’s time to teach the song to everyone.The tune is shared, bit by bit, and one by one every child learns it and joins in.  Before it’s over, their full-voiced singing creates a choral tapestry in which every child adds his or her own color to the musical palette.After a brief conversation, they add their renewed energy to the song they just learned, pick up the pace, and dance.  They twist and spin, jump and swing, making up their moves as they go along.  But, as before, their energy wanes.  This time, as they settle down, one child feels so comfortable with these new friends, he chooses to share his faith in the form of a chant — a prayer.Some join his prayer, as others add a familiar religious tune.  They pray and sing, and their separate experiences combine to produce a stirring, blended chorale.  As they finish, the day ends and they quickly reminisce about the blended experiences that are now behind them.  Before they go their separate ways, they share a moment of gratitude for the place where they can be free to be who they are, together.On a musical note, Colores combines multiple scale structures and varying types of vertical harmonies to give the piece its color palette.  Each of the five voices is set in a different mode, with different tonal centers and sets of accidentals.  The harmony combines both traditional tertian chords with secondal, quartal, and quintal structures.The colors within the music are intended to represent the racial diversity of the borderland from which the composer drew his inspiration.  It is hoped that we can learn from the example of children who talk, laugh, play, sing, dance, and pray together.  …who are grateful for the time and experiences they share.
$35.00
31.48 €
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Lon W
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Colores
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LCS Productions
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SheetMusicPlus
Polonaise in A Minor (MEDIUM PIANO) "Farewell to the Homeland" [Michał Kleofas Ogiński]
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.1259065 Composed by Michal Kleofas …
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Piano Solo - Level 3 - Digital Download SKU: A0.1259065 Composed by Michal Kleofas Oginski. Arranged by Darek. Classical,Patriotic,Romantic Period,Traditional. Score. 3 pages. Darek #852329. Published by Darek (A0.1259065). Polonaise in A Minor (MEDIUM PIANO) Farewell to the Homeland [Michał Kleofas Ogiński]Intermediate arrangement for pianists of Polonaise in A Minor Farewell to the Homeland (Polonez A-moll „Pozegnanie Ojczyzny†/ Polonez „Pożegnanie Ojczyzny†/ „Les adieux à la Patrie)  by Michał Kleofas Ogiński (Michal Kleofas Oginski). Intermediate version for beginner pianists / Intermediate piano arrangement. Included: Fingering and video Youtube tutorial. Indulge in the captivating melodies of the Polonaise in A Minor Farewell to the Homeland by Michal Kleofas Oginski with my exclusive collection of intermediate-level piano sheet music. Immerse yourself in the soul-stirring sounds of this cherished composition, also known as Polonez A-moll Pożegnanie Ojczyzny or Les adieux à la Patrie. Crafted for intermediate pianists, my sheet music provides the perfect balance between challenge and accomplishment. Experience the thrill of mastering this beautiful piece as you embark on a musical journey filled with artistic expression and technical finesse. With my meticulously designed sheet music, featuring detailed Fingering instructions, you'll discover a seamless transition across the keys, enabling you to explore the composition's intricacies with confidence and precision. To enhance your learning experience, each purchase includes a complementary YouTube tutorial video, featuring expert pianists who will guide you through the nuances of the piece. Witness their expertise firsthand as they bring the composition to life, providing invaluable insights and performance tips along the way. The Polonaise in A Minor Farewell to the Homeland hails from the Romantic era, known for its expressive melodies and profound emotional depth. Immerse yourself in the rich history of music and evoke the sentiments of Oginski's composition through your own interpretation. Positioned perfectly for online visibility, my product caters to intermediate pianists seeking a challenge and an opportunity to further develop their skills. Whether you're seeking a captivating repertoire, a chance to explore the complexities of musical notation, or a deeper understanding of the Romantic era, my sheet music collection has you covered. Rediscover the joy of playing the piano as you delve into the realms of notes, music, and artistic expression. Unleash your inner pianist and let the Polonaise in A Minor Farewell to the Homeland resonate through your fingertips. Elevate your musical journey and embrace the beauty of this cherished composition today.
$4.00
3.6 €
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Piano solo
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Michal Kleofas Oginski
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Polonaise in A Minor
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Darek
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SheetMusicPlus
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Rod…
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published by Jenni Roditi (A0.1497843). Piano Duo - 2 pianos, 4 hands. Surrender, Between the Octaves was the piece that was composed first in the suite. It exposes a simple call to return to the beginning, to return to a pure act of listening. This note..ah, now that note.. oh. This is how the piece was written - one note at a time. Listening from within a space (its original title) of resonance, of edges and meetings, of disappearances and repetitions that reflect on this gentle body of notes. There is a slow hearing that may, or may not create a tone-journey.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
17.99 €
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dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
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Jenni Roditi
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SURRENDER, Between the Octaves, A Piano Duo Suite
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Jenni Roditi
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SheetMusicPlus
The Merry Widow Waltz
Flute ensemble
Flute Choir,Woodwind Ensemble Flute - Level 4 - Digital Download SKU: A0.817948 Com…
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Flute Choir,Woodwind Ensemble Flute - Level 4 - Digital Download SKU: A0.817948 Composed by Franz Lehar. Arranged by Adrian Dee. Broadway,Musical/Show,Opera,Romantic Period,Wedding. 37 pages. Adrian Dee #6620189. Published by Adrian Dee (A0.817948). The Merry Widow is agruably Franz Lehar's best-known operetta, and the Waltz is it's best-known melody. Similar to many waltzes of its day, this piece opens with an introductory melody in 4 / 4 before the main waltz theme in 3 / 4. There are a few other melodic diversions along the way, then back to the main waltz theme. The piece runs about 5 ½ minutes and is quite accessible. Sure to please any crowd. Let me know what you think! adriandeeflute@gmail.com.
$9.99
8.98 €
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Flute ensemble
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Franz Lehar
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The Merry Widow Waltz
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Adrian Dee
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SheetMusicPlus
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