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At the Edge of the Body
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You've selected:
At the Edge of the Body
SheetMusicPlus
Sheetmusic to print
15 sheet music found
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1
At the Edge of the Body's Night
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Piano solo
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Contemporary
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William Grosvenor Neil
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At the Edge of the Body's Nigh
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TheComposerStudio.Com, LLC
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SheetMusicPlus
Piano Solo - Digital Download SKU: A0.982538 Composed by William Grosvenor Neil. Contemporary. Score. 50 pages. TheComposerStudio.Com, LLC #6709495. Publ...
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Piano Solo - Digital Download SKU: A0.982538 Composed by William Grosvenor Neil. Contemporary. Score. 50 pages. TheComposerStudio.Com, LLC #6709495. Published by TheComposerStudio.Com, LLC (A0.982538). Program Notes: At the Edge of the Body’s Night (2008) for piano and digital acoustics is a setting of Seven Poems by the late poet, Mark Strand. These poems intrigued me with their potent brevity and mysterious symbolism. I found in their riddle-like form a concise emotional message, ideal for creating short melodic themes and inspiring fantastic piano music. When I recorded Mark’s voice reading the poems, I knew that his recitation would be part of the compositional resources for the piece. His resonant voice, enhanced by the audio editing process, provided a powerful context for the musical interpretation of his words. The addition of a soprano voice (Ashley Parker) in the digital landscape alludes to the traditional art song setting of poems. and her siren-call voice recalls the female muse that I imagined inspired the poet in writing his words. The piano music guides the listener throughout this fantastic journey of sound and music reflecting on the meaning and character of the poems and driving the dream-like narrative forward. Performance of the digital acoustic: Each of the six movements (I & II are combined) for piano are accompanied by a digital audio landscape as part of the performance. At the beginning of each section, a cue is notated in the score to start the audio wave file. It is recommended that a high fidelity audio play back system be employed in the recital hall or performance space. The sound system could be interfaced with a laptop computer or iPad operated by the pianist using a foot pedal similarly used with iPads supporting a digital part or it could be executed during the performance by a technician. The rental of the digital acoustic files includes a Key File license from Qlab that TheComposerStudio will email to be uploaded to a PC or Mac laptop computer for the duration of the rental. The uploaded software will ensure that the files are executed during a performance with ease and accuracy. The rental agreement also includes support from TheComposerStudio.Com, LLC from the time of rental through the performance of the piece. Duration: ca. 24 mins. www.williamneil.net www.thecomposerstudio.com for more info: thecomposerstudio@gmail.com
$25.00
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
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2 Pianos, 4 hands
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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SURRENDER, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074...
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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
Pitch Only - Bass Clef (Sight Reading Exercise Book)
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Instructional
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Nathan Petitpas - Dots and Bea
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Pitch Only - Bass Clef
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Dots and Beams
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SheetMusicPlus
Large Ensemble Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Handbell,Harpsichord,Horn,Marimba,Orff Instrument,Organ,Pian...
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Large Ensemble Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Double Bass,Euphonium,Handbell,Harpsichord,Horn,Marimba,Orff Instrument,Organ,Piano,Timpani,Trombone,Tuba,Voice - Level 2 - Digital Download SKU: A0.931838 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 129 pages. Dots and Beams #5313621. Published by Dots and Beams (A0.931838). This book provides its user with a series of notes on a bass staff with no rhythm values and no meter. Chapters are organized by the placement of the notes relative to the staff; on the staff, above the staff, below the staff, on and above the staff, and on and below the staff. For each pitch range there is one chapter with no accidentals and one chapter with accidentals. All exercises have a space at the beginning of each staff to write in a key signature, allowing each exercise to be read in all keys and used in many ways. The aim with this book is to allow the user to focus specifically on exercises centred around pitch without the distraction of rhythmic values or time signatures. This can begin with the practice of sight-reading but can expand to include many other learning goals. The diatonic sets contain notes with no accidentals or key signature. These collections can be read as written, using only natural notes, or in any of the 15 key signatures from 7 flats to 7 sharps. Chromatic collections include sharp and flat notes as well as natural ones. The later exercises in these chapters increase the difficulty by including B#, Cb, E#, and Fb. Ledger line chapters start with the first ledger line and gradually expand away from the staff. Exercises above and below the staff extend to the space just beyond the fourth ledger line. The random nature of the notes in these exercises is intentional; it forces the user to pay attention to each note and makes the exercises very difficult to memorize, ensuring that they will still present a challenge even after multiple readings. It’s important when sight-reading to cycle through the exercises quickly rather than dwelling on a single exercise for a long time. This will ensure that you’re strengthening your ability to read the notes rather than just memorizing the exercises. Some suggestions for how to use this book include: Gain comfort reading the notes and finding them on your instrument in no particular rhythm or tempo. A greater challenge can be achieved by playing them at a steady tempo or by playing them in a simple rhythmic pattern. Beginner students can begin by writing in the note names. Play each exercise in all 15 key signatures. Advanced theory students and improvising musicians can also use these exercises to practice identifying scale degrees in various keys or playing chords built on every scale degree in the chosen key. Develop comfort with chords by playing a chord built on each note in the exercise. For example: for each note in the exercise, play the major chord with that root. Increase the difficulty with different chord qualities or different chord tones, for example: for every note, play the minor 7th chord in which the given note is the 3rd. Practice transposing into different keys. This is an especially useful challenge for people who play transposing instruments such as brass and woodwind instruments. Chapters with wide ranges can present a great exercise for musicians who play instruments where large leaps are a challenge. People who play strings, mallet percussion, piano, woodwinds, and brass would be among those who would benefit from practising these awkward leaps and falls.As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I highly encourage anybody using this book to find as many uses for it as possible. My hope is that as you grow as a musician you will find ever more creative and challenging ways to use these materials so that you can return to these books for years and still find a valuable way to use them.
$10.00
Pitch Only - Treble Clef (Sight Reading Exercise Book)
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Instructional
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Nathan Petitpas - Dots and Bea
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Pitch Only - Treble Clef
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Cello,Clarinet,English Horn,Euphonium,Flute,Guitar,Handbell,Harmonica,Harpsichord,Marimba,O...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Cello,Clarinet,English Horn,Euphonium,Flute,Guitar,Handbell,Harmonica,Harpsichord,Marimba,Oboe,Orff Instrument,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trumpet,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 3 - Digital Download SKU: A0.931837 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 129 pages. Dots and Beams #5313613. Published by Dots and Beams (A0.931837). This book provides its user with a series of notes on a treble staff with no rhythm values and no meter. Chapters are organized by the placement of the notes relative to the staff; on the staff, above the staff, below the staff, on and above the staff, and on and below the staff. For each pitch range there is one chapter with no accidentals and one chapter with accidentals. All exercises have a space at the beginning of each staff to write in a key signature, allowing each exercise to be read in all keys and used in many ways. The aim with this book is to allow the user to focus specifically on exercises centred around pitch without the distraction of rhythmic values or time signatures. This can begin with the practice of sight-reading but can expand to include many other learning goals. The diatonic sets contain notes with no accidentals or key signature. These collections can be read as written, using only natural notes, or in any of the 15 key signatures from 7 flats to 7 sharps. Chromatic collections include sharp and flat notes as well as natural ones. The later exercises in these chapters increase the difficulty by including B#, Cb, E#, and Fb. Ledger line chapters start with the first ledger line and gradually expand away from the staff. Exercises above the staff reach up to the space above the fifth ledger line while exercises below reach down to the space below the third. The random nature of the notes in these exercises is intentional; it forces the user to pay attention to each note and makes the exercises very difficult to memorize, ensuring that they will still present a challenge even after multiple readings. It’s important when sight-reading to cycle through the exercises quickly rather than dwelling on a single exercise for a long time. This will ensure that you’re strengthening your ability to read the notes rather than just memorizing the exercises. Some suggestions for how to use this book include: Gain comfort reading the notes and finding them on your instrument in no particular rhythm or tempo. A greater challenge can be achieved by playing them at a steady tempo or by playing them in a simple rhythmic pattern. Beginner students can begin by writing in the note names. Play each exercise in all 15 key signatures. Advanced theory students and improvising musicians can also use these exercises to practice identifying scale degrees in various keys or playing chords built on every scale degree in the chosen key. Develop comfort with chords by playing a chord built on each note in the exercise. For example: for each note in the exercise, play the major chord with that root. Increase the difficulty with different chord qualities or different chord tones, for example: for every note, play the minor 7th chord in which the given note is the 3rd. Practice transposing into different keys. This is an especially useful challenge for people who play transposing instruments such as brass and woodwind instruments. Chapters with wide ranges can present a great exercise for musicians who play instruments where large leaps are a challenge. People who play strings, mallet percussion, piano, woodwinds, and brass would be among those who would benefit from practising these awkward leaps and falls. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I highly encourage anybody using this book to find as many uses for it as possible. My hope is that as you grow as a musician you will find ever more creative and challenging ways to use these materials so that you can return to these books for years.
$10.00
La ciudad sumergida (The Submerged City) for SSAA treble voices and nature soundtrack
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Choral SSAA
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INTERMEDIATE
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Adrienne Inglis
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La ciudad sumergida
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Adrienne Inglis
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SheetMusicPlus
Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.953625 Composed by Adrienne Inglis (ASCAP). Contemporary,Latin. Octavo. 5 pages. Adrienne Inglis...
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Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.953625 Composed by Adrienne Inglis (ASCAP). Contemporary,Latin. Octavo. 5 pages. Adrienne Inglis (ASCAP) #6405603. Published by Adrienne Inglis (ASCAP) (A0.953625). La ciudad sumergida (The Submerged City) for four-part treble chorus and nature soundtrack by Adrienne Inglis (ASCAP) Commissioned for Dr. Ramona M. Wis and the North Central College Women’s Chorale A setting of an excerpt of RÃo de La Plata en lluvia from Mascarilla y Trébol (1938) by Alfonsina Storni (1938) Copyright © 2020 Adrienne Inglis Founder, composer, and singer with Inversion Ensemble of Austin, Texas, Adrienne Inglis also serves as principal flute with the Central Texas Philharmonic, flute instructor at Southwestern University, and flutist with flute/harp duo Chaski. She has music degrees from Lewis and Clark College and the University of Texas at Austin. An avid birder and environmentalist, she lives in the rural hill country of Central Texas. Poet Alfonsina Storni began writing during a tumultuous childhood fraught with economic hardships, many disruptive moves, and an alcoholic father. She danced with a theatrical troupe and then became a teacher and journalist. She bore a child out of wedlock and found herself working as a single mother during socially oppressive times. In Buenos Aires she joined the emerging world of women’s rights, becoming an important literary voice in the movement. When her breast cancer returned, her lifelong passion for the sea culminated in her suicide off of the coast of Argentina. RÃo de La Plata en lluvia from Mascarilla y Trébol (1938) lines 1-4 by Alfonsina Storni in the public domain Ya casi el cielo te apretaba, ciego, y sumergida una ciudad tenÃas en tu cuerpo de grises heliotropos neblivelado en su copón de llanto. [The sky was about to embrace you, blind, and you had in your body of gray heliotropes a submerged city, with the misty sky like a chalice about to overflow with tears.] Program note: Commissioned for Dr. Ramona M. Wis and the North Central College Women’s Chorale of Naperville, Illinois, La ciudad sumergida (The Submerged City) by Adrienne Inglis for four-part treble chorus with nature soundtrack captures the mood of a river, a city, the cloudy sky, and the poet’s own profound melancholy. The sound of rain creates both the ambiance of a misty day on the river and the sensation of cathartic crying from great sadness and pain. The city’s reflection on the river’s surface gives the illusion that the city is submerged in the water. The reflection of the clouds hovering low over RÃo de La Plata looks like gray heliotrope flowers. The apocalyptic images of a submerged city and of tears overflowing from the chalice-sky eerily foreshadow rising sea levels due to anthropogenic global warming. The nature soundtrack of rain was recorded by the composer in the hill country of central Texas, July 2020. Performance note: This aleatoric, asynchronous composition is suitable for remote singing along with the video score and nature soundtrack. Observe the order of entrances, but know that it’s not meant to line up exactly. Finish a phrase even if another phrase has started. Diphthongs move immediately to the second vowel sound. Ya begins with the [dÊ’] sound and llanto begins with the [Ê’] sound, both typical of the Buenos Aires accent. Sing quite expressively except for the neblivelado section which is misty and veiled. The director may wish to indicate the rehearsals numbers or the singers may follow the time on the video-or both. Duration: 3:08 Link to video with soundtrack is available from the composer (http://adrienneinglis.com). Acknowledgements: The composer warmly thanks Pablo and Diana Donatti, Ãngeles RodrÃguez Cadena, and Emilio Torres for their contributions to this project and to Dr. Ramona M. Wis and the North Central College Women’s Chorale for the generous commission. Copyright © 2020 Adrienne Inglis | http://adrienneinglis.com
$3.99
Paul Wehage: To You for baritone, tenor saxophone and piano
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Paul Wehage
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Paul Wehage: To You for barito
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Download SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary...
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Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Download SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3396161. Published by Musik Fabrik Music Publishing (A0.534375). To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.Whitman’s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poe’s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poet’s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..To YouWhoever you are, I fear you are walking the walks of dreams,I fear these supposed realities are to melt from under your feet and hands,Even now your features, joys, speech, house, trade, manners,troubles, follies, costume, crimes, dissipate away from you,Your true soul and body appear before me.They stand forth out of affairs, out of commerce, shops, work,farms, clothes, the house, buying, selling, eating, drinking,suffering, dying.Whoever you are, now I place my hand upon you, that you be my poem,I whisper with my lips close to your ear.I have loved many women and men, but I love none better than you.O I have been dilatory and dumb,I should have made my way straight to you long ago,I should have blabb'd nothing but you, I should have chanted nothingbut you.I will leave all and come and make the hymns of you,None has understood you, but I understand you,None has done justice to you, you have not done justice to yourself,None but has found you imperfect, I only find no imperfection in you,None but would subordinate you, I only am he who will never consentto subordinate you,I only am he who places over you no master, owner, better, God,beyond what waits intrinsically in yourself.Painters have painted their swarming groups and the centre-figure of all,From the head of the centre-figure spreading a nimbus of gold-color'd light,But I paint myriads of heads, but paint no head without its nimbusof gold-color'd light,From my hand from the brain of every man and woman it streams,effulgently flowing forever.O I could sing such grandeurs and glories about you!You have not known what you are, you have slumber'd upon yourselfall your life,Your eyelids have been the same as closed most of the time,What you have done returns already in mockeries,(Your thrift, knowledge, prayers, if they do not return inmockeries, what is their return?)The mockeries are not you,Underneath them and within them I see you lurk,I pursue you where none else has pursued you,Silence, the desk, the flippant expression, the night, theaccustom'd routine, if these conceal you from others or fromyourself, they do not conceal you from me,The shaved face, the unsteady eye, the impure complexion, if thesebalk others they do not balk me,The pert apparel, the deform'd attitude, drunkenness, greed,premature death, all these I part aside.There is no endowment in man or woman that is not tallied in you,There is no virtue,.
$29.95
Brew Time March
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Concert band
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EASY
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Kara Williams
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Brew Time March
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Kara Williams
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SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.1279514 Composed by Kara Williams. Classical,Contemporary,Contest,Festival,March. Score and Parts. 69 p...
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Concert Band - Level 2 - Digital Download SKU: A0.1279514 Composed by Kara Williams. Classical,Contemporary,Contest,Festival,March. Score and Parts. 69 pages. Kara Williams #870997. Published by Kara Williams (A0.1279514). The third movement from the four movement 'Suite in Sea' written for clarinet and piano by Kara Williams, 'Brew Time March' has been orchestrated for wind ensemble by the composer and has since proven to be a favourite with performers and audiences. We follow a young sailor as they excitedly hear the bugle call to have a break from work (brew time), grab a coffee (brew) and sit on the bow to watch the waves… lost in thoughts, the young sailor unexpectedly hears the sound of work recommencing, and scurries back, making it just in the nick of time… waiting eagerly for next the next call for Brew Time!  Opening with the 'Stand Easy' (break time) bugle call, Brew Time March is full of familiarly-sea-worthy sounds, and is a fun concert march that would be a great addition to any ensemble's library. In the style of a traditional military march, unless otherwise specified, notes should be played slightly detached throughout. Ensure the bass solo has plenty of attitude, and the rhythmic accompanying parts let the melodies breathe. Use a small set of crash cymbals (if parade-style cymbals are not available) - your percussionist will thank you! Also, hit the cymbals together slightly off-centre for zing and dynamic control, and hold the edges of the cymbals against the body to choke the ring where indicated. Keep this march a very steady two-feel throughout; however, feel free to completely stress the upper woodwinds out by going as fast as musically possible where marked at the end :-) Brew Time March runs for around 2:45 and is scored for full wind ensemble; however, it will work without one, some, or all the following parts: piccolo, 4th clarinet, baritone sax, bass clarinet, bassoon, horns in F, and bass trombone.
$30.00
I've Gotta Get A Message To You
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Brass quartet : 2 trumpets, trombone, tuba
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EASY
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Bee Gees
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Peet du Toit
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I've Gotta Get A Message To Yo
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Peet du Toit
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.802647 By Bee Gees. By Barry Gibb, Maurice Gibb, and Robin Gibb. Arranged ...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.802647 By Bee Gees. By Barry Gibb, Maurice Gibb, and Robin Gibb. Arranged by Peet du Toit. Dance,Disco. Score and parts. 23 pages. Peet du Toit #6197563. Published by Peet du Toit (A0.802647). I've Gotta Get a Message to You is a song by the Bee Gees. Released as a single on 7 September 1968, it was their second number-one single on the UK Singles Chart and their first US Top 10 hit.The song is about a man who, awaiting his execution in the electric chair, begs the prison chaplain to pass a final message on to his wife. Robin Gibb, who wrote the lyrics, said that the man's crime was the murder of his wife's lover, though the lyrics do not explicitly allude to the identity of the victim. Robin said, This is about a prisoner on Death Row who only has a few hours to live. He wants the prison chaplain to pass on a final message to his wife. There's a certain urgency about it. Myself and Barry wrote it. It's a bit like writing a script. Sometimes you can sit there for three hours with your guitar and nothing will happen. Then in the last ten minutes something will spark. The song was written with Percy Sledge in mind to record it. Sledge did record it in February 1970 but Atlantic did not issue his version in the United States at the time.Barry recalled, In those days, the lyrics were almost pretty well done on the spot. I don't remember the fundamentals on how the lyrics were formed, except that we were writing about a guy on death row. That was it.Robin adds:It was like acting, you see, we said, let's pretend that somebody, his life is on the line, somebody's going to the chair. What would be going through their mind? Let's not make it doom and gloom but sort of an appeal to the person he loves. Because right now that's all he cares about. Regardless of whether he's done a bad thing, he is a human being, and he's sending out this last message. There's someone out there whom he loves. It's a torch song, but within a very sort of theatrical sense. Not sort of abstract, but definitely somebody in a very bad situation whose life is going to end. What would they be saying, you know? This is it: 'Gotta get a message to you, hold on.Revive this hit on your brass instruments and enjoy!
$17.00
Show-type Tune (tune For A Lyric)
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Jazz Ensemble
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INTERMEDIATE/ADVANCED
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Bill Evans
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Sarah Jane Cion
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Show-type Tune
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Safflower Music LLC
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1100228 By Bill Evans. By Bill Evans. Arranged by Sarah Jane Cion. Film/TV,Jazz. Score a...
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Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1100228 By Bill Evans. By Bill Evans. Arranged by Sarah Jane Cion. Film/TV,Jazz. Score and parts. 122 pages. Safflower Music LLC #704104. Published by Safflower Music LLC (A0.1100228). Show Type Tune Back in 1989 I was taking an arranging course at NEC taught by George Russell (who subsequently received the Genius Grant for Lifetime Achievement). I worked on this big band arrangement for about a year. My concept was to take a Bill Evans tune and harmonize his solo for saxes within the body of the arrangement. About a week before graduation it finally came time for the class to have their work heard. I was SO excited! A big band was assembled and after a few days of classmate’s charts workshopped, George Russell fell ill, and I never got to hear my arrangement. I was devastated. It had taken me months to arrange, and hand-write the 17 parts as back then, no computers of course!So, tearfully it all went into a red folder—and eventually made its way to the bottom of a box, a box that somehow followed me throughout life. Recently concerned about doing nothing all week at family camp—I thought to myself, with my present knowledge of music notation software, why not dig up that dusty red folder and input the chart to finally hear it —32 years later? I figured if the work had any merit I could print it out and bring it to Library Band ! So. in the tiny log cabin with laptop and travel keys, I began, soon falling into what can only be described as timeless awareness—future self collaborating with inner conservatory undergrad—and dare say, I was rather impressed with her 😂 Although a few tweaks needed, the work proved nothing short of a sound effort. Tying up this life-long loose-end feels nothing short of spiritually inspired. ðŸ˜.
$49.99
2, 4, 6, 8: Positions We Don't Appreciate for Violin
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Violin
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INTERMEDIATE/ADVANCED
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Steven Kruse & Penny Thompson
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2, 4, 6, 8: Positions We Don't
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String Play for All
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SheetMusicPlus
Violin Solo - Level 4 - Digital Download SKU: A0.1512713 Composed by Steven Kruse & Penny Thompson Kruse. 19th Century,20th Century,Classical,Instruction...
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Violin Solo - Level 4 - Digital Download SKU: A0.1512713 Composed by Steven Kruse & Penny Thompson Kruse. 19th Century,20th Century,Classical,Instructional,Traditional. 47 pages. String Play for All #1087663. Published by String Play for All (A0.1512713). It has long been accepted practice that, after first position, the next positions a violin or viola student learns are third and fifth positions. There is a good reason for studying the odd-numbered positions first. The body of the instrument and the crook of the neck provide solid reference points for finding these positions. Hamonically, first, third, and fifth position outline the triad, the foundation of Western tonal music. The fingering of fifth position matches first position, making it easy to learn. It is unfortunate that this focus on third and fifth position has often been at the cost of any discussion of the even positions: 2, 4, 6, and 8. This is evident in the traditional etudes and study material available for violin and viola. With the new tonal demands of twentieth and twenty-first century music, knowledge and familiarity with the entire fingerboard has become essential.LIke the relationship in fingering between first and third position, the same relationship can be found between second and sixth and fourth and eighth positions. We have chosen to introduce these positions together, with melodies that can be played in both positions. Shifting exercises between the even positions are also provided. We hope teachers and students will find this material useful.
$14.95
2, 4, 6, 8: Positions We Don't Appreciate for Viola
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Viola
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INTERMEDIATE/ADVANCED
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Steven Kruse & Penny Thompson
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2, 4, 6, 8: Positions We Don't
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String Play for All
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SheetMusicPlus
Viola Solo - Level 4 - Digital Download SKU: A0.1512720 Composed by Steven Kruse & Penny Thompson Kruse. 19th Century,20th Century,Classical,Instructiona...
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Viola Solo - Level 4 - Digital Download SKU: A0.1512720 Composed by Steven Kruse & Penny Thompson Kruse. 19th Century,20th Century,Classical,Instructional,Traditional. Individual part. 47 pages. String Play for All #1087672. Published by String Play for All (A0.1512720). It has long been accepted pedagogical practice that, after first position, the next positions a violin or viola student learns are third and fifth positions. There is good reason for studying the odd-numbered positions first. The body of the and the crook of the neck provide solid reference points for finding these positions. Harmonically, first, third, and fifth positions outline the triad, the foundation of Western tonal music. The fingering for fifth position matches first position, making it easy to learn. It is unfortunate that this focus on third and fifth position has often been at the cost of any discussion of the even positions: 2, 4, 6, and 8. This is evident in the traditional etudes and study material available for violin and viola. With new tonal demands of twentieth and twenty-first century music, knowledge and familiarity with the entire finger board is essential.Like the relationship between first and fifth position, the same relationship can be found between second and sixth positions and fourth and eighth positions. We have chosen to introduce these positions together, with melodies that can be played in both positions. Also included are shifting exercises between the even-numbered positions. We hope students and teachers will find this material helpful.
$14.95
Tantric Psalms (1997, rev. 1999) for mezzo-soprano and string quartet
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Sacred music
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Thomas Oboe Lee
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Tantric Psalms
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Thomas Oboe Lee
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.869311 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. S...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.869311 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With Om ah hum hum (Chant sung with mouth closed.). 21 pages. Thomas Oboe Lee #32293. Published by Thomas Oboe Lee (A0.869311). Program notes: Mark Ludwig came to me in the spring of 1997 wondering if I would be interested in writing a piece of music for the Hawthorne String Quartet that would bring to the attention of the world what many Tibetans are experiencing as exiles or political prisoners under the rule of the Peoples Republic of China. I told him I would be. So, he loaned me several books on Tibet, the Dalai Lamas, a video about a Tibetan ethnomusicologist who is currently in prison for spying, and a few recordings of Tibetan folk music. I found the material very intriguing and fascinating. And toward the end of a five-week residency at the American Academy in Rome that summer, I completed the first draft of Tantric Psalms. The work was completed a week later at home in Cambridge, Massachusetts. In 1999, I revisited the score and added a voice so that the beautiful Tibetan chants and prayers can be invoked. Tantric Psalms is in three sections, but organized in two movements: I. Invocation Om ah hum hum (Chant sung with mouth closed.) Prayer: Then bless me to embark ... II. Invocation Simple Song of Fun/Om ma ni pad me hum (Chant sung with mouth closed.) (Om ah hum hum. Om ah kham hum. Om ah om hum. Om ah sva hum. Om ah ah hum. Om ah ha hum. Om ah lam hum. Om ah mam hum. Om ah bam hum. Om ah tam hum. Om ah jah hum. Om ah hum hum. Om ah bam hum. Om ah hoh hum. Om ah maim hum. Om ah thlim hum. Om am om hum. Om ah om hum. Om ah om hum. Om ah hum hum. Om ah om hum. Om ah sam hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum.) Then bless me to embark in a boat to cross the ocean of the Tantras, Through the kindness of the Captain Vajra master, Holding vows and pledges, root of all power, more dearly than life itself! Bless me to perceive all things as the deity body, Cleasing the taints of ordinary perception, Through the yoga of the first stages of Unexcelled Tantra, Changing births, deaths, and between into the three Buddha bodies! (Om ma ni pad me hum.).
$9.99
Tantric Psalms (1997, rev. 1999) for mezzo-soprano and string quartet
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Sacred music
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Thomas Oboe Lee
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Tantric Psalms
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Thomas Oboe Lee
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.869299 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. S...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.869299 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With Om ah hum hum (Chant sung with mouth closed.). 21 pages. Thomas Oboe Lee #32649. Published by Thomas Oboe Lee (A0.869299). Program notes: Mark Ludwig came to me in the spring of 1997 wondering if I would be interested in writing a piece of music for the Hawthorne String Quartet that would bring to the attention of the world what many Tibetans are experiencing as exiles or political prisoners under the rule of the Peoples Republic of China. I told him I would be. So, he loaned me several books on Tibet, the Dalai Lamas, a video about a Tibetan ethnomusicologist who is currently in prison for spying, and a few recordings of Tibetan folk music. I found the material very intriguing and fascinating. And toward the end of a five-week residency at the American Academy in Rome that summer, I completed the first draft of Tantric Psalms. The work was completed a week later at home in Cambridge, Massachusetts. In 1999, I revisited the score and added a voice so that the beautiful Tibetan chants and prayers can be invoked. Tantric Psalms is in three sections, but organized in two movements: I. Invocation Om ah hum hum (Chant sung with mouth closed.) Prayer: Then bless me to embark ... II. Invocation Simple Song of Fun/Om ma ni pad me hum (Chant sung with mouth closed.) (Om ah hum hum. Om ah kham hum. Om ah om hum. Om ah sva hum. Om ah ah hum. Om ah ha hum. Om ah lam hum. Om ah mam hum. Om ah bam hum. Om ah tam hum. Om ah jah hum. Om ah hum hum. Om ah bam hum. Om ah hoh hum. Om ah maim hum. Om ah thlim hum. Om am om hum. Om ah om hum. Om ah om hum. Om ah hum hum. Om ah om hum. Om ah sam hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum.) Then bless me to embark in a boat to cross the ocean of the Tantras, Through the kindness of the Captain Vajra master, Holding vows and pledges, root of all power, more dearly than life itself! Bless me to perceive all things as the deity body, Cleasing the taints of ordinary perception, Through the yoga of the first stages of Unexcelled Tantra, Changing births, deaths, and between into the three Buddha bodies! (Om ma ni pad me hum.).
$9.99
Luminous Visions
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Easy Piano
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EASY
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Universe Waves
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Alexander Mastelyak
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Luminous Visions
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Alexander Mastelyak
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SheetMusicPlus
Easy Piano - Level 2 - Digital Download SKU: A0.1422047 By Universe Waves. By Alexander Mastelyak. Arranged by Alexander Mastelyak. 21st Century,Classica...
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Easy Piano - Level 2 - Digital Download SKU: A0.1422047 By Universe Waves. By Alexander Mastelyak. Arranged by Alexander Mastelyak. 21st Century,Classical,Contemporary,New Age,Pop. Score. 10 pages. Alexander Mastelyak #1003388. Published by Alexander Mastelyak (A0.1422047). With the sun sinking low on the horizon, painting the sky in a breathtaking palette of pastel hues, the beach becomes a sanctuary of tranquility. Waves gently kiss the shore, their soothing melody blending harmoniously with the soft rustle of palm trees. At the edge of this serene landscape sits a grand piano, its polished surface reflecting the colors of the setting sun. Seated gracefully at the piano is a woman whose presence seems to embody the very essence of beauty. Her fingers caress the keys with effortless grace, evoking melodies that resonate with the soul-stirring rhythm of the ocean. In this moment of sublime beauty, nature and music converge, weaving a tapestry of serenity that captivates the heart and mind alike.
$2.50
Carolina Fox Trot, - duet: instrument in Eb or Bb, and instrument in Bb
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Will Vodery
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Paul Burnell
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Carolina Fox Trot, - duet: ins
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Paul Burnell
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SheetMusicPlus
Small Ensemble Alto Saxophone,Bass Clarinet,E-Flat Clarinet,Euphonium,Horn,Tenor Saxophone - Level 3 - Digital Download SKU: A0.835904 Composed by Will V...
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Small Ensemble Alto Saxophone,Bass Clarinet,E-Flat Clarinet,Euphonium,Horn,Tenor Saxophone - Level 3 - Digital Download SKU: A0.835904 Composed by Will Vodery. Arranged by Paul Burnell. 20th Century,Ragtime. Score and parts. 11 pages. Paul Burnell #6702435. Published by Paul Burnell (A0.835904). Carolina Fox Trot by Will Vodery, arranged by Paul Burnell for duet - instrument in Eb or Bb, and instrument in BbDownload comprises both score and parts.Duration 3:00 Part 1 in Eb (Alto Clarinet, Alto Saxophone, Tenor Horn) or Bb (Tenor Saxophone etc.)Part 2 in Bb (Bass Clarinet, Tenor Saxophone, Euphonium)The arrangement may be suitable for other instruments with the same transpositions.Score shows parts transposed with Part 1 shown in EbPlay cue-sized notes in brackets where main notes are out of range or inconvenient.The final section of Vodery's original piano score includes instructions to 'clap hands' and 'knock on piano with knuckles'. This arrangement includes similar instructions for the same bars, indicated by x noteheads. Players may choose a percussive effect such as key clicks, tapping the body of the instrument, stamping feet etc.The final four bars of this arrangement are an extension of the previous bars and may be omitted.'Carolina Fox Trot' was recorded by the Victor Military Band on 13 October 1914 with the Victor recording label ledgers noting: 34 bars per minute, equivalent to 68 bpm. A recording by the Pathé Dance Orchestra in late 1914-early 1915 appears to be at a faster tempo - reflected in this arrangement. Programme note:'Carolina Fox Trot' was written by US composer and arranger Will H. Vodery and published as a piano piece in 1914, with a sub-title 'New One Step', and with a front cover description: New Society Dance - Originated by Billy Kent & Jeanette Warner - America's Classiest Dancers. It is possible that the title of the piece was intended to be just 'Carolina', with 'Fox Trot' being a descriptive subtitle. The Fox Trot emerged as a new popular dance in 1914, and was initially danced to ragtime music.Will Vodery is perhaps best known for the vocal and choral arrangements that he created for the original Broadway stage production of the classic musical 'Show Boat' (1927).
$1.99
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