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As Far As I Can See - guitar solo
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As Far As the Heart Can See
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.1292741 By Julie Rivers. By Julie R…
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Piano Solo - Level 4 - Digital Download SKU: A0.1292741 By Julie Rivers. By Julie Rivers. 21st Century,Classical,New Age. Score. 3 pages. EarthStar Recordings / Publications, LLC #883304. Published by EarthStar Recordings / Publications, LLC (A0.1292741). Piano Solo from the album As Far As the Heart Can See. As I look across the Tallgrass Prairies, I can think, dream and see further and clearer than ever...with my heart. 3 pages. Modern-romantic. published by EarthStar Recordings / Publications, LLC (ES.SM1112).
$4.99
4.58 €
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Piano solo
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Julie Rivers
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As Far As the Heart Can See
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EarthStar Recordings / Publications, LLC
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SheetMusicPlus
Billy Joel - Just the Way You Are (Piano Solo)
Piano solo
Piano Solo - Intermediate - Digital Download By Billy Joel. Arranged by Mario Stallba…
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Piano Solo - Intermediate - Digital Download By Billy Joel. Arranged by Mario Stallbaumer. 4 pages. Published by Mario Stallbaumer
Here's how to play "Just the Way You Are" by Billy Joel on piano!<br> <br> With this sheet music, you get a playable piano arrangement of "Just the Way You Are" which sounds beautiful.<br> <br> The full melody is included in the piano part, so it makes for a wonderful instrumental (piano solo) cover.<br> <br> "Just the Way You Are" is a song from Billy Joel's 1977 album "The Stranger", and served as the album's lead single. It became his first top 10 hit in the US, and won two Grammy Awards ("Record of the Year" and "Song of the Year") in 1977!<br> <br> It's certainly one of the greatest and most iconic love songs from the 70s - with this piano sheet music, you can play it in the most beautiful way!<br> <br> If you like this arrangement, please consider leaving a review - it would mean a lot.<br> <br> Here are the full lyrics to Billy Joel's "Just the Way You Are":<br> <br> <br> [Verse 1]<br> Don't go changing to try and please me<br> You never let me down before<br> Don't imagine you're too familiar<br> And I don't see you anymore<br> <br> [Refrain 1]<br> I would not leave you in times of trouble<br> We never could have come this far<br> I took the good times, I'll take the bad times<br> I'll take you just the way you are<br> <br> [Verse 2]<br> Don't go trying some new fashion<br> Don't change the color of your hair<br> You always have my unspoken passion<br> Although I might not seem to care<br> <br> [Refrain 2]<br> I don't want clever conversation<br> I never want to work that hard<br> I just want someone that I can talk to<br> I want you just the way you are<br> <br> [Bridge]<br> I need to know that you will always be<br> The same old someone that I knew<br> What will it take till you believe in me<br> The way that I believe in you<br> <br> [Refrain 3]<br> I said I love you and that's forever<br> And this I promise from the heart<br> I could not love you any better<br> I love you just the way you are<br> <br> [Refrain 2]<br> I don't want clever conversation<br> I never want to work that hard<br> I just want someone that I can talk to<br> I want you just the way you are
$4.99
4.58 €
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Piano solo
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Billy Joel
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Billy Joel - Just the Way You Are
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Mario Stallbaumer
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SheetMusicPlus
Numbered Places [11 pieces for piano solo]
Piano solo
Piano Solo - Intermediate - Digital Download Composed by Juan María Solare. 20…
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Piano Solo - Intermediate - Digital Download Composed by Juan María Solare. 20th Century, Contemporary Classical, Minimalism, Neo-Classical, Repertoire. Score, Solo Part. 35 pages. Published by Juan Maria Solare
Juan María Solare: Numbered Places (eleven piano pieces) <br> <br> <br> <br> 01 - One Way Flight to... (2:50)<br> <br> 02 - Twopenny Loaf [USA] (3:45)<br> <br> 03 - Three Bridges [UK] (2:25)<br> <br> 04 - Four Oaks [USA] (3:00)<br> <br> 05 - Five Pointz [NYC] (3:45)<br> <br> 06 - Six Mile Bottom [UK] (2:40)<br> <br> 07 - Seven Kings [UK] (5:10)<br> <br> 08 - Eight Streets [USA] (5:55)<br> <br> 09 - Nine Elms [UK] (2:50)<br> <br> 10 - Ten Ten Road [NC, USA] (3:25)<br> <br> 11 - Eleven Lands [UK] (3:30)<br> <br> <br> <br> Totaltime: 39:15<br> <br> Numbered Places * piano * music by Juan María Solare<br> <br> <br> <br> The cycle Numbered Places startsfrom a simple idea: the piece nr. 1 would have a title that begins with theword One, the piece nr. 2 a titlethat begins with the word Two and soon up to an arbitrary number (in this case, eleven).<br> <br> <br> <br> For everything to have more cohesion, English names of different places orregions in either USA or (mainly) UK were used.<br> <br> <br> <br> In its own way, Numbered Placesis therefore a conceptual album - alreadyfrom the point of view of titles.<br> <br> <br> <br> Also musically, this world of sound has cohesion: instrumental piano music,neoclassical aesthetics (a somewhat broad concept that encompasses composerssuch as Erik Satie or Ludovico Einaudi), a certain simplicity in its surface.<br> <br> <br> <br> Let us briefly comment each of the titles:<br> <br> <br> <br> - One WayFlight to ...: The imaginary journey starts here. Each person will completethe sentence with the destiny of their choice.<br> <br> - TwopennyLoaf: This is a neighborhood (and geographically a cape) in the city ofGloucester, Essex County, Massachusetts, USA. It is believed to have gotten itsname because it is shaped like a (bread) loaf that at the time cost twopennies.<br> <br> - ThreeBridges: It is a city somewhere between London and Brighton, and a nodalpoint where trains typically split. Musically, the most minimalistic of all thecycle.<br> <br> - Four Oaks:There are numerous places so named, both in England and the US, and possibly inother countries. I can imagine that there were actually four oak trees planted near.<br> <br> - FivePointz: Neighborhood in Queens, New York. A graffiti mecca that wasdemolished in 2014 to build expensive buildings. And yes, it is spelled with zin this case.<br> <br> - Six MileBottom: Is a hamlet near Cambridge in England. The hamlet derives its namefrom its distance from the start of Newmarket Racecourse and because it lies ina valley bottom. There is no public transport. The old train station, closed in1967 for lack of use, is now a private residence.<br> <br> - SevenKings: It is a neighborhood in Ilford, East London. The earliest recordeduse of the name is as Sevekyngg or Sevekyngges in 1285, possibly meaning'settlement of the family or followers of a man called Seofoca'<br> <br> - EightStreets: it is a (very sought-after) neighborhood located in the heart ofthe historic South End of the city of Boston, Massachusetts, USA.<br> <br> - Nine Elms:a district of South West London. Nine Elms Lane was named around the year 1645,from a row of elm trees bordering the road.<br> <br> - Ten TenRoad: it is a place -actually the main road- in the town of Apex, NorthCarolina, USA.<br> <br> - ElevenLands: this place is mentioned in an old legal report from around 1782 asexisting in North London ("a place called Eleven Lands, containing fiveacres of arable, formerly Cosby's, beonging to a farm in the said parish ofBletcheley...", in " Acollection of the Reports of Cases, the Statutes, and Ecclesiastical Laws,relating to Tithes", volume 3). It has certainly changed its name.Musically, this last piece has a certain tango aura.<br> <br> <br> <br> <br> <br> Why eleven pieces and not more? The truth is that - incredibly as it mayseem - I didn't find any place called "Twelve" something. Yes thereare such names in other languages, but I wanted to keep some consistency. Thereare also pubs or bars called Twelvewhatever, but since they are not sponsoring my music, I had no motivation togive them free advertising at the moment.<br> <br> <br> <br> This album was released in early 2020 on Spotify, iTunes and allother online platforms through the label BlissRecordings in London (part of frtyfve).Find your favorite service here: https://frtyfve.lnk.to/NPVol1<br> <br> <br> <br> There are alsovideos of several pieces of this album. They are in the following playlist:<br> <br> https://www.youtube.com/playlist?list=PL70vQeCRYmkp3vEdIkdnjJyiU1aZ_u7HA
$11.00
10.1 €
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Piano solo
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Juan María Solare
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Numbered Places [11 pieces for piano solo]
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Juan Maria Solare
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SheetMusicPlus
St. Louis Blues
Piano solo
Piano Solo - Level 5 - Digital Download SKU: A0.1224471 Composed by W.C. Handy. Arr…
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Piano Solo - Level 5 - Digital Download SKU: A0.1224471 Composed by W.C. Handy. Arranged by Timothy Stapay. Blues,Film/TV,Jazz,Singer/Songwriter,Standards. Score. 8 pages. Timothy Stapay #820575. Published by Timothy Stapay (A0.1224471). This arrangement of St. Louis Blues is written as performed by piano artist, Liberace. He performed this on his t.v. show and record albums. The Saint Louis Blues (or St. Louis Blues) is a popular American song composed by W. C. Handy in the blues style and published in September 1914. It was one of the first blues songs to succeed as a pop song and remains a fundamental part of jazz musicians' repertoire. Benny Goodman, Louis Armstrong, Cab Calloway, Bing Crosby, Bessie Smith, Eartha Kitt, Count Basie, Glenn Miller, Guy Lombardo, Liberace, and the Boston Pops Orchestra (under the directions of both Arthur Fiedler and Keith Lockhart) are among the artists who have recorded it. Lyrics:I hate to see that evening sun go down, I hate to see that evening sun go down, 'Cause my lovin' baby done left this town. If I feel tomorrow, like I feel today, If I feel tomorrow, like I feel today, I'm gonna pack my trunk and make my getaway. Oh, that St. Louis woman, with her diamond rings, She pulls my man around by her apron strings. And if it wasn't for powder and her store-bought hair, Oh, that man of mine wouldn't go nowhere. I got those St. Louis blues, just as blue as I can be, Oh, my man's got a heart like a rock cast in the sea, Or else he wouldn't have gone so far from me. I love my man like a schoolboy loves his pie, Like a Kentucky colonel loves his rocker and rye I'll love my man until the day I die, Lord, Lord. I got the St. Louis blues, just as blue as I can be, Lord, Lord! That man's got a heart like a rock cast in the sea, Or else he wouldn't have gone so far from me. I got those St. Louis blues, I got the blues, I got the blues, I got the blues, My man's got a heart like a rock cast in the sea, Or else he wouldn't have gone so far from me, Lord, Lord!Władziu Valentino Liberace (May 16, 1919 – February 4, 1987) was an American pianist, singer, and actor. A child prodigy born in Wisconsin to parents of Italian and Polish origin, he enjoyed a career spanning four decades of concerts, recordings, television, motion pictures, and endorsements. At the height of his fame from the 1950s to 1970s, he was the highest-paid entertainer in the world!
$7.99
7.34 €
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Piano solo
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W
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St. Louis Blues
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Timothy Stapay
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano solo
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.77 €
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Piano solo
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Musik Fabrik Music Publishing
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SheetMusicPlus
The History of Shells
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.1172232 By Sarah Bonsignore. By Sar…
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Piano Solo - Level 3 - Digital Download SKU: A0.1172232 By Sarah Bonsignore. By Sarah Bonsignore. Arranged by Sarah Bonsignore. 19th Century,20th Century,Classical,Contemporary,Romantic Period. Score. 11 pages. Sarah Bonsignore #772456. Published by Sarah Bonsignore (A0.1172232). Here is a brand new piece in five parts that has been haunting me for two days. It came to me at 3am yesterday and I went into my studio to notate it. It's a dreamy, soothing and sometimes soaring piece that reminded me of the octopus from the amazing documentary My Octopus Teacher. Part 1 is possibly more beginner intermediate, and I think some of the parts can be played as individual solos. I've included a link to the youtube demo on the score with an above hands view and a light up keyboard so that students can follow the score and listen.My husband and children loved this piece when they heard it, so I'm excited to have it published for others to learn and play. Part 3 was an idea from a piece I improvized in the Tottenham Court tube station a few years ago (yes, there was a piano in the tube station, and there should be a piano in every tube station as far as I'm concerned :) The theme I played that day never left me and it seemed to fit here. I wrote an expanded version of part 3 called Flight in D major that I hope to include on my website singplaystudios.com and here in a few weeks, so if you like part 3, I hope you'll check that piece out too. I plan to include this work in my 20 Beautiful Piano Solos book 3 (please find the first two books and many other repertoire and ear training books on Amazon). Thank you for considering learning this piece. It is very special to me, and you can read more about my inspiration and process at the youtube link.
$5.99
5.5 €
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Piano solo
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Sarah Bonsignore
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The History of Shells
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Sarah Bonsignore
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SheetMusicPlus
The Beatles - Yesterday - Piano Solo
Piano solo
Piano Solo - Intermediate - Digital Download By The Beatles. Arranged by Mario Stallb…
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Piano Solo - Intermediate - Digital Download By The Beatles. Arranged by Mario Stallbaumer. 2 pages. Published by Mario Stallbaumer
With this sheet music, you can play "Yesterday" by The Beatles on piano!<br> <br> It's a beautiful piano ballad arrangement with an intermediate difficulty level.<br> <br> The full melody is included in the piano part, so it makes for a perfect instrumental (piano solo) cover.<br> <br> Written by Paul McCartney (and officially credited to Lennon–McCartney), "Yesterday" was included on the Beatles' 1965 album "Help!" in the UK, and on their 1966 album "Yesterday and Today" in the US.<br> <br> The melancholic ballad became one of their biggest hits, topped the charts in the US, and was later inducted into the Grammy Hall of Fame.<br> <br> In 1999, it was voted the best song of the 20th century in a BBC poll, and the No. 1 pop song of all time by both MTV and the Rolling Stone magazine in 2000.<br> <br> It's also one of the most covered songs ever written, with over 2,000 recorded cover versions.<br> <br> Time for you to play it, too!<br> <br> Here are the full lyrics to "Yesterday" by the Beatles:<br> <br> Yesterday<br> All my troubles seemed so far away<br> Now it looks as though they're here to stay<br> Oh, I believe in yesterday<br> <br> Suddenly<br> I'm not half the man I used to be<br> There's a shadow hanging over me<br> Oh, yesterday came suddenly<br> <br> Why she had to go<br> I don't know, she wouldn't say<br> I said something wrong<br> Now I long for yesterday<br> <br> Yesterday<br> Love was such an easy game to play<br> Now I need a place to hide away<br> Oh, I believe in yesterday<br> <br> Why she had to go<br> I don't know, she wouldn't say<br> I said something wrong<br> Now I long for yesterday<br> <br> Yesterday<br> Love was such an easy game to play<br> Now I need a place to hide away<br> Oh, I believe in yesterday
$4.99
4.58 €
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Piano solo
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The Beatles
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The Beatles - Yesterday - Piano Solo
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Mario Stallbaumer
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SheetMusicPlus
Fifteen Safari Duets for Tubas
2 Tubas (duet)
Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, …
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Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, Etudes and Exercises. Score. 38 pages. Published by Musica Nova USA
Fifteen Safari Duets for Tubas was composed for playing duets with my tuba students. The fifteen duets are at different levels of difficulty and various styles so that we always had duets to play no matter what ability of student. There is something in each duet for students to learn from the basics of tone production, rhythms, melodic phrasing, jazz, graphic notation, etc. Most are sight readable and some have been performed in concerts. They are all fun to play. Although for tubas, they may be played on any instrument.<br> <br> In 1988 I spent a month in Kenya on safari and experiencing the African wildlife and culture, thus the inspiration for these duets that were composed soon after the trip in 1989 and 1990 and have been a regular part of my teaching ever since. Four of these duets are recorded on the compact disc “Tuba Safari” (Troy 1173) on Albany Records.<br> <br> 1. Elephants at Stave<br> <br> This duet presents the cantabile style studied for playing the tuba. I find that this duet helps the student much like the melodies of Borgodni etudes. There are more elephants in Tsavo than anywhere else in Kenya. It was not uncommon to see large families of thirty elephants at a time.<br> <br> 2. Gallop – Thompson Gazelle at Amboseli<br> <br> This duet provides an opportunity to read in a sharp key, D major, as well as basic rhythms and articulations. I find that the more advanced students can read in a faster tempo and other students can work in a slower tempo – a common choice in all of the duets. Large herds of playful Thompson Gazelle were a usual occurrence in most of the game parks in Kenya. <br> <br> 3. Rhinos at Nairobi Game Park<br> <br> This waltz helps the student match phrasing in a cantabile setting. There are a few instances where the teacher (playing the first part) plays a phrase then the student plays a similar phrase. The rhinoceros is a very noble animal that can grow to more that 1,000 pounds and is known for its horn. The Nairobi game park is located just outside the city, giving a sense of surrealism to the panorama.<br> <br> 4. Giraffes at Nairobi Twiga Park<br> <br> This is in a “rock” style with syncopated rhythms and cantabile melodies. The Nairobi Twiga park is just outside the city and is the only place where one can feed the giraffes. Along with their long necks they have very long tongues.<br> <br> 5. Warthogs at Ngulia<br> <br> Legato scales and syncopated rhythms are the features of this duet. Warthogs have tails that are held upright when they run.<br> <br> 6. Baboons at Kiliguni<br> <br> This duets alternates in rock style and swing. Baboons are sometimes a problem because they will try to steal food from the tourists’ tables. They will work together where one causes a diversion while the others steal. <br> <br> 7. Pastoral – Cape Buffalo at Samburu<br> <br> The key of A for this duet gives variation for the students. Cape Buffalo are in large herds on the savanna. The Samburu Lodge dining area was built next to a watering hole. At the beginning of breakfast there were no animals, but in fifteen minutes more than 500 cape buffalo were at the water hole.<br> <br> 8. Song - Hippos at Mzima Springs<br> <br> This is the easiest of rhythms and range of the duets, especially for the 2nd(student) part. Hippopotamuses can grow up to 4,000 pounds and spend most of their time sleeping in the water during the day. At night they go on land to hunt.<br> <br> 9. Leopards at Kimana Lodge<br> <br> This duet is non-metric and uses graphic notation. This was a favorite duet of my students as many have never experienced this notation before. The leopard is a large predatory cat that usually hunts at night. <br> <br> 10. Colobus Monkeys at the Ark<br> <br> This is an Invention in the Bach style. The Ark is a building that was built in 1969 at a watering hole for tourists to watch wildlife. The colobus monkey is black with white on its forearms and chest. <br> <br> 11. Zebra Migration at Masai Mara<br> <br> This duet is in a “Medium Swing” jazz style. The great migration between the Masai Mara and Serengeti involves about two million wildebeest, zebras and other animals every year. It is considered one of the most impressive natural events worldwide.<br> <br> 12. Ostrich at Samburu<br> <br> This duet works on double time and half time. The ostrich is the largest bird in the world. In Samburu there was an ostrich that hung around the lodge, her name was Margaret. She was very friendly with everybody but she would steal your hat.<br> <br> 13. Cheetah at Voi<br> <br> This is another duet that includes graphic notation. The cheetah can run up to 80 miles an hour when chasing after prey. When not hunting prey it often walks very slowly.<br> <br> 14. Gallop – Gerenuk at Buffalo Springs<br> <br> This gallop displays different types of articulation. The gerenuk is an antelope with a slightly extended neck so it can eat higher leaves from trees.<br> <br> 15. Lions at Mara Sopa<br> <br> This duet is in the style of a fanfare. The lion is considered the king of the savanna. <br> <br> Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Tuba Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over one hundred compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally including First Prize in the 1991 TUBA Etude Contest. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world. Many of his compositions are available on ITunes, Youtube and Soundcloud. <br> <br> His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$20.00
18.37 €
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2 Tubas (duet)
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Gregory Fritze
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Fifteen Safari Duets for Tubas
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Musica Nova USA
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano solo
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95
35.77 €
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Piano solo
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Musik Fabrik Music Publishing
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SheetMusicPlus
Even As I Am (Sacred Music Praising Attributes of Jesus Christ)
Choral SATB
Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1448715 Compos…
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Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1448715 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Sacred,Spiritual. 160 pages. Kevin G. Pace #1028528. Published by Kevin G. Pace (A0.1448715). A collection of 17 songs, 157 pages (SATB Choir, TTBB Men’s Choir, vocal duets, and a vocal solo) addressing several of Christ’s attributes as we see them demonstrated during his mortal sojourn. Not all attributes are addressed, as there are far too many positive qualities of our Master, for He is perfect in every way. But, presented in this book of sacred songs, are several of his most noticeable attributes that can help us grow and learn as He would desire us to live. Some of these are patience, charity, submissiveness, healing, compassion, and more.We hope you will enjoy these original renditions and that each song will give each listener a sense of who we really worship, and how much hope we can have that through our Savior’s help we can each become closer and closer to Him. As we rely on his promises, may we follow His admonition to become “even as I am” (See 3 Nephi 27).
$16.99
15.6 €
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Choral SATB
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Kevin G
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Even As I Am
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Kevin G. Pace
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SheetMusicPlus
Perspectives (for Vibraphone Solo)
Vibraphone
Vibraphone Solo - Level 3 - Digital Download SKU: A0.1436071 Composed by Adam Lenha…
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Vibraphone Solo - Level 3 - Digital Download SKU: A0.1436071 Composed by Adam Lenhart. 21st Century,Contemporary,Contest,Early Music,Festival,Instructional. Individual part. 9 pages. Adam Lenhart #1016230. Published by Adam Lenhart (A0.1436071). “I grew up in the small town of Ottawa Lake, Michigan. My perspective of life in the rural midwest of the United States was quite pastoral, peaceful and quiet, but in 2020 I moved to Ann Arbor, Michigan and suddenly had opportunities as well as challenges I had never experienced before. However, many other new music students I spoke to stated how much smaller the city felt to them than their hometown. It was so interesting to see how the places we were raised impacted our view of how we live and communicate as a human race. I began imagining all the places in the universe where my small town would appear to be booming with life from its perspective–a lone farmhouse, the depths of the ocean, the edges of outer space, etc. One incredible thing about perspectives is that they are always changing, just as we are. The unfamiliar can always become familiar, and the familiar can always become unfamiliar.”-Adam Lenhart, 2024---------------------------Adam Lenhart (b. 2002) is a University of Michigan student of music theory, composition, voice and organ from Ottawa Lake, Michigan. As a theorist, his areas of study vary widely, including 18th century counterpoint, the early American Sacred Harp tradition and impressionism. As a composer, his music draws inspiration from nature, mathematics and poetry. In 2020 he was awarded the Michigan Music Education Associations Young Composers of Michigan award, as well as first prize in the University of Toledo Young Composers competition. Lenhart has also participated in numerous ensembles across Michigan, including the MYAF All-State Choir, Tecumseh Pops Orchestra, University of Michigan Mens Glee Club and the SMTD University Choir. He thoroughly enjoys collaboration with other composers, performers, poets and visual artists. Some of his recent projects include collaborations with individuals from the University of Michigan Chamber Music, History, and Poetry departments.
$5.99
5.5 €
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Vibraphone
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Adam Lenhart
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Perspectives
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Adam Lenhart
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SheetMusicPlus
I Heard the Bells on Christmas Day
Piano solo
Piano Solo - Level 5 - Digital Download SKU: A0.1125799 By Michael Swedberg. By Jea…
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Piano Solo - Level 5 - Digital Download SKU: A0.1125799 By Michael Swedberg. By Jean Baptiste Calkin. Arranged by Terrence Niska. Christmas,Contemporary,Holiday. Score. 8 pages. Niska Music Publishing #726539. Published by Niska Music Publishing (A0.1125799). I must admit that I was far more familiar with the 1956 setting of this poem as sung by Bing Crosby to music by Johnny Marks than I was to the one found in many hymnals. It was on several of the Christmas albums that would be played on the phonograph in our house during the holiday season. However, I chose to arrange the carol setting for this collection as it resonated more deeply with me and seemed to better capture the essence of the poem by Longfellow. He wrote it during the Civil War, on Christmas Day of 1863, and several of the verses make reference to the war. While I did not set any of the Civil War verses, there is an almost martial quality to the opening music and one can almost hear the brass choir ringing out in the first verse. With each subsequent verse, the rhythm of the right hand becomes quicker, moving from half notes to quarter note triplets to eighth notes and finally to eighth note triplets in the final verse. For the most part, the left hand maintains the steady beat of quarter notes, with the exception of the final verse where it begins to move in eighth notes setting up a two-against-three pattern between the hands. It is the most jubilant of the verses and feels like an explosion of sound as the bells ring out across all the land proclaiming God is not dead, nor doth He sleep; The Wrong shall fail, The Right prevail, With peace on earth, good-will to men..
$3.99
3.66 €
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Piano solo
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Michael Swedberg
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I Heard the Bells on Christmas Day
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Niska Music Publishing
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SheetMusicPlus
Paisley's Sonata
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.1030831 Composed by Michael C. Brow…
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Piano Solo - Level 4 - Digital Download SKU: A0.1030831 Composed by Michael C. Brown. 20th Century,Romantic Period. Score. 23 pages. Michael C. Brown #4051. Published by Michael C. Brown (A0.1030831). This piece celebrates the life and mourns the loss of my granddaughter, Paisley Gladys Hogan, who was but 2 months old when she was called to Heaven. These are the words I wrote just before her funeral.... I. The Presence - She was here. I held her the day she was born. I held her and watched her smile at me less than 24 hours before she departed. She only knew love. No one around her ever showed her anything else that humanity had to offer; like hatred, heartache, pain, control, or anger. II. The Shock - She feels a Hand beckon her to leave her mortal coil, and she enters into a world we cannot yet reach.. With no one home, her former body ceases to wake. The unimaginable has happened and we struggle to reverse it. Finally, it becomes clear that we cannot. She sees us cry and she wonders what is happening. Having never known sorrow, she only sees that love didn't cause this response. She wants to comfort us with the love she knows, but we do not yet sense it. III. The Questions - One word has confounded mankind from its creation; Why? We have never found an acceptable answer. We ask, Why did this happen? and What did I do? and What didn't we do right? and Why couldn't it have been me? among others. We only know that her absence has carved holes in our hearts shaped like her. She tries to tell us, You can still love me. I just cannot be seen by you now. It does not mean your love cannot make me happy. I still want it. I still feel it. Please feel my love for you. IV. Letting Go - The day comes to bid farewell to the vehicle by which she came to us. We struggle to cope that we will see her face no more except in pictures. Because of the brevity of her life, memories are few to relive, but to do so is to recall happiness. In sorrow, we return her to the earth. All that is left is to return to recall, to talk to her, to bring flowers and other gifts, and to await the day we follow her. V. Remembering - The days and years follow. Normalcy slowly sets back into our lives. The holes in our hearts will never fully heal. But the salve of her love and her memory help to soothe the ache. We still return to where we placed her mortal home, where we laugh and cry in tandem, where our hearts ache to fill the void left by her departure. It will never really get better, but it will become easier for her love to dull the sting of her absence. VI. The Reunion - One by one, we will feel the same Hand bid us to come. The same events will befall those left behind each time. One by one, she will greet us as we reunite with her. We marvel at how she has stayed with us as we stay to comfort those we had just bidden farewell. The rest cannot be imagined by we that remain..........
$4.99
4.58 €
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Piano solo
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Michael C
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Paisley's Sonata
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Michael C. Brown
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SheetMusicPlus
Let Us Break Bread Together
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.828261 Composed by Anonymous. Arran…
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Piano Solo - Level 4 - Digital Download SKU: A0.828261 Composed by Anonymous. Arranged by Paul Thurmond. Christian,Gospel,Sacred,Spiritual. Score. 4 pages. Paul Thurmond #4969095. Published by Paul Thurmond (A0.828261). Tune: LET US BREAK BREADUse: Prelude, Offertory, CommunionThis song is an African-American spiritual. Some of the text may date back as far as the 18th century. Although it has been used in communion since at least the Civil War, that may not have been its original intent.I have heard lectures given by researchers who claim that many African-American spirituals contain coded messages, intended for slaves, about secret meetings, clandestine worship services, and escape plans. Some songs are even said to contain maps.The texts are innocuous on the surface, so as to not alert the slave owners. Some of the double meanings seem obvious in retrospect:When Israel was in Egypt land,Let My people go.Oppressed so hard they could not stand,Let My people go.And:Steal away, steal away, steal away to Jesus!Steal away, steal away home. I ain’t got long to stay here.In Let Us Break Bread Together, this curious line may have a double meaning:When I fall on my knees, with my face to the rising sunCommunion needn’t take place at daybreak, nor while facing east. The lyrics could be a pointer to a specific time and place for a prohibited meeting.Whatever its original meaning, this and many other African-American spirituals are now an important part of many worship traditions.
$4.99
4.58 €
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Piano solo
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Anonymous
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Let Us Break Bread Together
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Paul Thurmond
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SheetMusicPlus
Requiem
Chamber Orchestra
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Dow…
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
51.41 €
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Chamber Orchestra
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Wheat
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.1097957 By Heather Pierson. By Heat…
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Piano Solo - Level 4 - Digital Download SKU: A0.1097957 By Heather Pierson. By Heather Pierson. Contemporary,New Age. Score. 7 pages. Sacred Vessel Recordings (ASCAP) #700880. Published by Sacred Vessel Recordings (ASCAP) (A0.1097957). Wheat is a 7 page advanced intermediate level piece in the key of A flat major. It is from my album 'The Open Road', a collection of 14 of my solo piano compositions. Though I was born in Missouri, I do think of Kansas as my home state - it’s where I spent the first five years of my life. One of the most beautiful sights (there or anywhere, in my opinion) is that of wheat fields holding up the sky for as far as the eye can see, swaying gently like waves upon the ocean. That sight was the inspiration for this piece. Other pieces available in this collection are: Bittersweet, Doc Bradley’s Waltz, Edith, Flight of Fancy, Jasper County, Late October, Lullaby, Marble In My Pocket, The Open Road, Prairie Sunset, Skipping Rocks at Shoal Creek, The Storm’s Promise, and Sunflowers.
$4.99
4.58 €
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Piano solo
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Heather Pierson
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Wheat
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Sacred Vessel Recordings
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SheetMusicPlus
Good Bye Till I See You Again. A Beautiful Song and Chorus
Piano and voice (solo and SATB chorus) - Digital Download SKU: LV.4230 Composed by …
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Piano and voice (solo and SATB chorus) - Digital Download SKU: LV.4230 Composed by Will S. Hays. Courtship, Love, Farewells, Sadness. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.4230). Good Bye Till I See You Again. A Beautiful Song and Chorus. Written and Composed by Will S. Hays. Published 1870 by John L. Peters, 599 Broadway in New York. Composition of strophic with chorus with piano and voice (solo and satb chorus) instrumentation. Subject headings for this piece include Courtship, Love, Farewells, Sadness. First line reads Come give me your hand for tonight we must part.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.5 €
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Will S
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Good Bye Till I See You Again. A Beautiful Song and Chorus
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Beyond The Sea
Piano solo
Piano - Level 4 - Digital Download SKU: A0.1398436 By Bobby Darin. By Albert Lasry,…
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Piano - Level 4 - Digital Download SKU: A0.1398436 By Bobby Darin. By Albert Lasry, Charles Trenet, and Jack Lawrence. Arranged by Tobi A Crawford. Contemporary,Jazz. Score (Chords/Lyrics). 7 pages. Tobi Crawford #981711. Published by Tobi Crawford (A0.1398436). This arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll. One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea†over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them. Somewhere beyond the seaShe’s there watching for me…It’s far beyond the starsIt’s near beyond the moon And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,†and the song ends with: “and never again I’ll go sailing.†It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan. Performance Suggestions: The improvisation solo in the middle should be free of any traditional “scat syllables†and should be more of a lament. Listen to singers like Aubrey Johnson and Sara Gazarek improvise on ballads for inspiration.
$25.00
22.96 €
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Piano solo
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Bobby Darin
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Beyond The Sea
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Tobi Crawford
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SheetMusicPlus
New Cadenza to the Grieg Piano Concerto in A minor
Piano solo
Instrumental Solo - Level 5 - Digital Download SKU: A0.1273847 Composed by R. Allen…
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Instrumental Solo - Level 5 - Digital Download SKU: A0.1273847 Composed by R. Allen Lane. Classical,Romantic Period. Individual part. 11 pages. Allen Lane #865975. Published by Allen Lane (A0.1273847). Alternative cadenzas to the Grieg A minor Piano Concerto are very few and far between. Here is one which I wrote in 2023. As you can see, it is written in the traditional bravura style.I have now included a complete performance of it by my music composition software, including the orchestral intro and coda. Give it a whirl!
$4.95
4.55 €
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Piano solo
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R
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New Cadenza to the Grieg Piano Concerto in A minor
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Allen Lane
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SheetMusicPlus
A Week in November - Sally Whitwell
Piano solo
Piano Solo - Level 5 - Digital Download SKU: A0.873046 Composed by Sally Whitwell. …
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Piano Solo - Level 5 - Digital Download SKU: A0.873046 Composed by Sally Whitwell. Contemporary. Score. 11 pages. Sally Whitwell #6119391. Published by Sally Whitwell (A0.873046). A Week in November… and what a week it was! It was the week of the US Presidential Election 2020. As I write these words, the absurdist tantrums of the Trump-Pence campaign versus the reasoned compassion of team Biden-Harris continues even well after the results have been called in the Democrats’ favour. There will not be the usual respectful concession speech and transition of power. I worry every day about how these next few months will be so very difficult, maybe even dangerous, for my American friends. Those convoys of flag waving Trumpists gleefully, openly, encouraged by their ‘leader’, attempting to block the democratic process was horrifying to witness. Was America on the brink of civil war? It still doesn’t seem far fetched to think that as I sit in my studio on the other side of the world, feeling helpless. The only thing I felt that I could do for my friends over there was to offer them a way to feel safe and loved in the moment, a bit of musical mindfulness. It was in this spirit that I wrote the second movement of this work, subtitled A Pocket Full of Calm. My excellent pianist friends Erica Sipes (USA) and Sandra Mogensen (Canada) adopted my little tune, recorded it on their social media to share said moment in the moment as it were. I hope it helped. I mean, if I can bring to even just one person some sense of calm solidarity, I’m happy with that. The fifth movement in the set, Victorious, resolute, but gracious, was a stream-of-consciousness creative response to the Biden Harris victory and the way they handled it so eloquently, so humbly, how they gave the world a sense of optimism once more. For a long while, I’d felt that I probably wouldn’t be welcome in America. As a mixed race, queer woman I was the antithesis of everything they valued. But now, people like me over there can feel human again. The relief! As for the other days of that week in November, they are part of a continuing series of daily composition exercises I started back in October in an effort to end a lengthy period of pandemic-induced creative block. Using a combination of exercises from Music Composition Toolbox (Barbeler/Blom/Hindson) and Brian Eno’s Oblique Strategies I’ve been able to find my creativity again. Starting a composition ‘habit’ is the best thing I’ve done for my writing all year and is how I mean to continue for a long time. Sally Whitwell12 November 2020
$15.00
13.77 €
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Piano solo
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Sally Whitwell
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A Week in November - Sally Whitwell
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Sally Whitwell
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SheetMusicPlus
Beyond The Sea
Choral SATB
Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1308788 Comp…
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Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1308788 Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. 11 pages. Tobi Crawford #898034. Published by Tobi Crawford (A0.1308788). *Purchase 10 copies to perform this piece with your ensemble of any size*Purchase the instrumental pack (bass and drum part) here: https://www.sheetmusicplus.com/en/product/beyond-the-sea-instrumental-pack-only-22605052.htmlThis arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll. One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea†over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them. Somewhere beyond the seaShe’s there watching for me…It’s far beyond the starsIt’s near beyond the moon And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,†and the song ends with: “and never again I’ll go sailing.†It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan. Performance Suggestions: The improvisation solo in the middle should be free of any traditional “scat syllables†and should be more of a lament. Listen to singers like Aubrey Johnson improvise on ballads for inspiration. An idea for that improv section might be to have a male singer start the improv, then a female singer joins (as if together in heaven) then they sing letter F together (warning: will cause tears…). All solo sections do not have to be sung as written – soloists can take liberties with the melody as the spirit moves.
$10.00
9.18 €
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Choral SATB
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Charles Tenet
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Beyond The Sea
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Tobi Crawford
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SheetMusicPlus
Beyond The Sea *INSTRUMENTAL PACK ONLY*
Jazz Ensemble
Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1308790 Composed b…
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Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1308790 Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. Set of parts. 10 pages. Tobi Crawford #898036. Published by Tobi Crawford (A0.1308790). *THIS ACCOMPANIES THE VOCAL ARRANGEMENT* This arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll. One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea†over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them. Somewhere beyond the seaShe’s there watching for me…It’s far beyond the starsIt’s near beyond the moon And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,†and the song ends with: “and never again I’ll go sailing.†It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan. Performance Suggestions: The improvisation solo in the middle should be free of any traditional “scat syllables†and should be more of a lament. Listen to singers like Aubrey Johnson improvise on ballads for inspiration. An idea for that improv section might be to have a male singer start the improv, then a female singer joins (as if together in heaven) then they sing letter F together (warning: will cause tears…). All solo sections do not have to be sung as written – soloists can take liberties with the melody as the spirit moves.
$30.00
27.55 €
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Jazz Ensemble
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Charles Tenet
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Beyond The Sea *INSTRUMENTAL PACK ONLY*
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Tobi Crawford
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SheetMusicPlus
Fanfare: "Grit" - Horn 2 in F
French horn
French Horn Solo - Level 5 - Digital Download SKU: A0.1018968 Composed by Benjamin …
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French Horn Solo - Level 5 - Digital Download SKU: A0.1018968 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 2 pages. Benjamin Sajo #6086619. Published by Benjamin Sajo (A0.1018968). Programme Notes: Fanfare: Grit evokes the brassy and rousing tropes of adventure movie soundtracks and Saturday morning cartoons, such as those written by John Williams, Shirley Walker, among others. Writing this piece was an escapade to my own musical roots for this was the first type of music I had been exposed to as a child: incidental music accompanying perilous quests, hairbreadth escapes, and other trials blocking the hero’s path to victory and redemption. I wanted to compose a piece that harkens back to the music that I first fell in love with, that opened up the gates of a legacy--symphonic classical music--that’s always been my solace in trying times. What is grit? Grit is the dirt between smiles and between barefoot toes. Grit is a hard-boiled detective. Grit is tilling the tough soil for the possibility of a beautiful blossoming of flowers. Grit is saying, See you soon, and making sure it happens. Grit is helping others when it’s hard to help yourself. Grit isn’t easy bravery, but the kind of courage you need to build up brick by brick. The obligatory synonyms: courage, bravery, pluck, mettle, and spirit. Finally, this composition, the fourth of my so-called Beethoven Episodes, was written to accompany Ludwig van Beethoven’s 4th Symphony. This work was written on his 250th anniversary, coincidentally during the Covid-19 Pandemic of 2020, and is the sum of my feelings wrought from that experience. Yet this work was completed on Canadian Thanksgiving, and is also an expression of all that I am grateful for, from the bottom of my heart.
$3.50
3.21 €
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French horn
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Benjamin Harry Sajo
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Fanfare: "Grit" - Horn 2 in F
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Benjamin Sajo
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SheetMusicPlus
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