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You've selected:
Coming Back As A Man
Sheetmusic to print
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Coming Back As A Man
Choral SSAA
Choral Choir (SSAA) - Level 4 - Digital Download SKU: A0.856237 By Caro Emerald. By…
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Choral Choir (SSAA) - Level 4 - Digital Download SKU: A0.856237 By Caro Emerald. By David Schreurs, Jan Wieringen Van, Robin Veldman, Robin Veldmen, Vince Degiorgio, Vincent Paul Degiorgio, and Wieger Hoogendorp. Arranged by Liz Garnett. Contemporary. Octavo. 7 pages. Liz Garnett #4994795. Published by Liz Garnett (A0.856237). In this fifth single from the album The Shocking Miss Emerald, Caro Emerald spins a fantasy of revenge on unreliable male lovers by playing them at their own game. Dressing it up in plenty of barbershop 7ths for contest-suitability has the effect of giving it additional backbone and drama, which are enhanced by a motif of octave leaps in the lead line introduced in the embellishments.N.B. This arrangement is notated in treble and bass alta (i.e. sung an octave higher than written) clefs.Vocal Ranges:Tenor: E4 - F5Lead: A3 - E5Bari: A3 - B flat 4Bass: D3 - G flat 4www.HelpingYouHarmonise.com
$2.99
2.71 €
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Choral SSAA
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Caro Emerald
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Coming Back As A Man
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Liz Garnett
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SheetMusicPlus
Coming Back As A Man
Choral SSAA
SSAA Chorus,Voice - Level 3 - Digital Download SKU: A0.1477685 Composed by David Sc…
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SSAA Chorus,Voice - Level 3 - Digital Download SKU: A0.1477685 Composed by David Schreurs, Jan Wieringen Van, Robin Veldmen, Vince Degiorgio, Vincent Paul Degiorgio, and Wieger Hoogendorp. Arranged by Maggie McAlexander. A Cappella,Barbershop,Jazz. Barbershop Quartet. 7 pages. Maggie McAlexander #1055063. Published by Maggie McAlexander (A0.1477685). Four-part SSAA a cappella arrangement, originally performed by Caro Emerald.
$12.99
11.78 €
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Choral SSAA
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David Schreurs, Jan Wieringen Van, Robin Veldmen, Vince Degiorgio, Vincent Paul Degiorgio, and Wieger Hoogendorp
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Coming Back As A Man
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Maggie McAlexander
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SheetMusicPlus
Suite for guitar in E minor by J. A. de Logy
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1453811 Composed by Jan Antonin de…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1453811 Composed by Jan Antonin de Logy (1650-1721). Arranged by Socrates Arvanitakis. Baroque. Individual part. 34 pages. Socrates Arvanitakis #1033060. Published by Socrates Arvanitakis (A0.1453811). Jan Antonin de Logy, count of Rosinthal (1650-1721) was an aristocrat of Bohemia and official of the Austrian empire. As a musician he was a lute player of professional level and seems to have been a refined and prolific composer of single pieces and suites in the French style for his instrument. His compositions are becoming known to us today through important academic research but a lot more work has to be made in this field. The present suite in Em has the following eight movements:1 Allemande2 Courante3 Sarabande La Favorita4 Double5 Gavotte I6 Gavotte II & (Gavotte I da capo)7 Menuett8 GigueNone of these dance movements is too difficult to play, but they are all musically rewarding and the compositional standard is kept high in all of them maintaining a two-part contrapuntal writing throughout the suite.In these editions I prefer not to add any fingerings because I consider that they obscure the optical result rather than clarifying any particular way of playing the music. Especially if tablatures are provided as is the case with this volume the suggested left hand fingerings become quite clear, but Instrumentalists can disregard these suggestions and provide their own fingering and choice of positions.Interactive thematic index has been provided for easy navigation to individual movements either in decorated or in tablature pages and back to the index.If a printed copy is desired, blank pages have been provided for insertion at will and for correct order of left and right side pages.MP3 of the music has been created using the Note Performer playback engine.
$8.00
7.25 €
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Guitar
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Jan Antonin de Logy
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Suite for guitar in E minor by J. A. de Logy
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Socrates Arvanitakis
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SheetMusicPlus
Carson Cooman - Shadowbook (Three Songs in the Night) (2013) for clarinet, tuba, and piano
Tuba and Piano
Small Ensemble Clarinet,Piano,Tuba - Level 4 - Digital Download SKU: A0.775974 Comp…
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Small Ensemble Clarinet,Piano,Tuba - Level 4 - Digital Download SKU: A0.775974 Composed by Cason Cooman. Contemporary,Standards. Score and parts. 48 pages. Musik Fabrik Music Publishing #2034873. Published by Musik Fabrik Music Publishing (A0.775974). Shadowbook (Three Songs in the Night) (2013) for clarinet, tuba, and piano was commissioned by and is dedicated to Kevin and Susan Wass. As the title implies, it is music that possesses a certain dark energy. It evokes not so much a night of tranquility, but rather one of great intensity. The titles of the movements are poetic, not programmatic-each intends to give a sense of the mood that pervades the music. The Bearer of Bad News begins obsessively with re-iterations of a unison pitch. The movement unfolds lyrically outwards from this texture, finally reaching a climax in an intense return of the re-iterations, before a coda brings the energy back down. A Desperate Peace draws from the spirit of fierce lament. It evokes a line from Tecumseh of the Shawnee American Indian tribe: When your time comes to die, be not like those whose hearts are filled with fear of death, so that when their time comes they weep and pray for a little more time to live their lives over again in a different way. Sing your death song, and die like a hero going home. In Towards Morning an obsessive rhythmic pulse pushes the music forwards towards the coming day. The night’s dark energy, however, is not soon forgotten. The set includes a piano score and parts for Bb clarinet and tuba.
$25.95
23.52 €
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Tuba and Piano
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Cason Cooman
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Carson Cooman - Shadowbook
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Musik Fabrik Music Publishing
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SheetMusicPlus
"A Meditation" (Coming Home) Solo Flute, Violin or Oboe
Small Ensemble Flute,Oboe,Violin - Level 4 - Digital Download SKU: A0.938116 Compos…
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Small Ensemble Flute,Oboe,Violin - Level 4 - Digital Download SKU: A0.938116 Composed by Jacquelyn G. Kleine. 20th Century,Concert,Contemporary,Spiritual,Wedding. Score and parts. 2 pages. Jacquelyn Kleine #3038519. Published by Jacquelyn Kleine (A0.938116). A Meditation (Coming Home) is a warm and gentle Flute (Violin or Oboe) solo that is suitable where quiet interlude and meditative music is needed. (i.e. During prayer and meditation, weddings, receptions, background - as well as recital progamming.) Though, I have performed this composition many times in public settings, I composed this solo for my former students, in order to teach them the key of D flat. It also has a key change to the bright sound of D Major, and then transitions back to the warm sound of D flat. You'll sense my influence and love for French music in this solo! Enjoy! Join me on Facebook and SoundCloud: https://www.facebook.com/gentlecreationsbyjacki/ https://soundcloud.com/jacquelyn-kleine
$5.00
4.53 €
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Jacquelyn G
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"A Meditation"
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Jacquelyn Kleine
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SheetMusicPlus
Roadtrip on a Motorway
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.1028770 Composed by L.J Harding. Co…
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Piano Solo - Level 4 - Digital Download SKU: A0.1028770 Composed by L.J Harding. Contemporary,Instructional,Standards. Score. 2 pages. L.J Harding #3921143. Published by L.J Harding (A0.1028770). This composition is a piano piece written in A major in the common time signature 4/4. The story behind ‘Roadtrip on a Motorway’ is from a personal experience of travelling to Galway from Dundalk to go to Pink Training, a national and life-changing weekend. The original phrase represents the rising hope of what the weekend could become and how exciting it is to be outside of college. This is quickly interrupted as during the journey the car breaks down on the motorway one hour away from Galway city. This is represented by fast, irregular rhythms with counterpoint to represent the disorientation, panic and fear from not knowing where we are or how we are going to get to Galway on time. The return of the original motif symbolises hope coming back to us as a woman stopped on the motorway and offered to drive us to Galway. A sense of panic and disorientation returns in the music as we begin to become stressed about whether we will meet the deadline for registration. The song finally resolves to the original theme, but developed as a nod to the journey that we had while we finally make it to registration on time.
$6.99
6.34 €
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Piano solo
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L
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Roadtrip on a Motorway
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L.J Harding
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SheetMusicPlus
PANTOMANIA (an original Summer Pantomime)
Choral SATB
Choral Choir (Mixed) - Level 3 - Digital Download SKU: A0.999348 Composed by Dennis…
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Choral Choir (Mixed) - Level 3 - Digital Download SKU: A0.999348 Composed by Dennis A. Westgate. Children,Christmas,Contemporary,Musical/Show,World. Octavo. 75 pages. Tyne Music #5884499. Published by Tyne Music (A0.999348). PANTOMANIA: A modern pantomime in the TYNE ONSTAGE series of family orientated musicals. We’re all familiar with the U.K.s traditional pantomime. An extravaganza of costume, song and comedy acting, always presented during the autumn & winter months, especially over the Christmas holiday period. They’re extremely popular in the U.K. and draw in big family audiences, indeed the finance generated, helps most theatres over the more leaner summer months. So I thought Why not write a ‘Pantomime for Summer’ and this is it!PANTOMANIA takes you on a journey into the mystical world of fairy tale and fantasy, where words on a page become real-life characters when our heroine, Victoria falls into a wishing well and on climbing out, finds herself in the ‘Children’s Section’ on a library bookshelf. We follow her as she moves from page to page trying to find a way back home, assisted by the ‘Scarecrow’ plus an odd assortment of picture book characters. A great fun-musical for all of the family with plenty laughs and a few screams along with foot-tapping songs. It can be performed by any mixed age group age from 12 - 60. Perfect for seat-filling by any school, college, youth theatre or dramatic society.Note: Of course it could also be performed in the Winter and would be a great way to end the Autumn Term!This album includes the Piano & Vocal Score along with the full Libretto.For full information please see my website:- https://www.tynemusic.com/pantomaniaP.S. Owing to the high cost in orchestration The music is only available as a piano score with lyrics and chords. However this is reflected in the price. You would have to add your own instrumentation, but this would be an excellent opportunity for any up and coming student arranger to add to their C.V.
$37.00
33.54 €
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Choral SATB
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Dennis A
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PANTOMANIA
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Tyne Music
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SheetMusicPlus
Carson Cooman: Concerto for Bass Trombone and Six Players (2006), score and parts
Large Ensemble Cello,Double Bass,Flute,Multi-Percussion,Oboe,Trombone,Viola - Level 5 - Di…
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Large Ensemble Cello,Double Bass,Flute,Multi-Percussion,Oboe,Trombone,Viola - Level 5 - Digital Download SKU: A0.533689 Composed by Carson Cooman. Concert,Contemporary,Standards. Score and parts. 64 pages. Musik Fabrik Music Publishing #3038607. Published by Musik Fabrik Music Publishing (A0.533689). Concerto for Bass Trombone and Six Players (2006) was commissioned by the CarnegieMellon School of Music for the Carnegie Mellon Contemporary Ensemble, Walter Morales,director. The work is dedicated to trombonist Jim Siders, for whom the solo part was written.The work is scored for solo bass trombone with an ensemble of primarily “dark†instruments– alto flute, clarinet, viola, cello, contrabass, and percussion. The solo bass trombone is thefocal point of the musical discourse, acting throughout largely as a protagonist – with muchmaterial best described as bitterly lyrical. The work maintains a generally dark, obsessive,and bitter tone throughout.Unlike some concerti, however, the work is not about an aggression between soloist and therest of the ensemble. Rather the bass trombone is “first†among a collection of like mindedindividuals – all expressing the same sentiments and aggressions.The opening section is marked “spasmodic.†Quiet nervous twitches serve as a backdrop to amelodic unfolding of the basic material and interval content. The end of this part “breaksapart†to reveal a section marked “slow, otherworldly.†The harmonic material starts modal,open, and “distant†in feeling (perhaps a recollection of a distant past) before becominggradually gnarled again.The trombone leads towards the next section: an ever-building athletic “moto perpetuo.†Thisreaches its peak in an aggressive and horribly angry climax – with a wide-ranging trombonepart marked “wildly raving; insane, uglyâ€, obliterated by bass drum hits and shriekinghammer blows from the other instruments.A nervous and timid interlude returns to the nervous twitching of the opening – thougheverything is slightly slower and more hushed than before, finally breaking off into anenigmatic coda.Alto FluteClarinet in BbPercussion (1 player):bass drum, marimba, crotales(Percussionist needs one rosined bow for crotales.)ViolaCelloContrabassThis is the score and parts. The score is also available for sale as a seperate item.
$32.95
29.87 €
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Carson Cooman
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Carson Cooman: Concerto for Bass Trombone and Six Players
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Musik Fabrik Music Publishing
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SheetMusicPlus
Feldman's Sixpenny Editions
1(afl).1.1.bcl.1-2.1.1.0-pno(cel)-str(1.1.1.1.1) ensemble - Digital Download SKU: S9.Q2…
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1(afl).1.1.bcl.1-2.1.1.0-pno(cel)-str(1.1.1.1.1) ensemble - Digital Download SKU: S9.Q23832 For ensemble. Composed by Gerald Barry. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 20 minutes. Schott Music - Digital #Q23832. Published by Schott Music - Digital (S9.Q23832). Feldman's was a music shop in London in the early 20th century.They sold collections of popular music for playing at home, and some of these were called 'Feldman's Sixpenny Editions'. Collections like these were among my first feverish encounters with music as a boy. I fell in love with pieces like 'Martial Steps' and 'The dog barks, the caravan passes On'. I entered into them completely, becoming one not only with the music, but with the paper they were printed on, and the advertisements on the back. I pored over these, laying my face on them, waiting for signs of my future direction. The piano plays a significant role in the music. The last piece in the collection, 'The Innermost Secret', refers to the lunches Satie had with Debussy. Satie said that Debussy cooked pork chops 'with the innermost secret'. (Gerald Barry).
$35.99
32.63 €
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Gerald Barry
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Feldman's Sixpenny Editions
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Schott Music - Digital
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SheetMusicPlus
Prelude in A minor, Op. 1, No. 2
Piano solo
Piano Solo - Level 5 - Digital Download SKU: A0.1248123 By Michael Swedberg. By Ter…
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Piano Solo - Level 5 - Digital Download SKU: A0.1248123 By Michael Swedberg. By Terrence Niska. 21st Century,Classical. Score. 8 pages. Niska Music Publishing #842686. Published by Niska Music Publishing (A0.1248123). There is a storm brewing on the horizon and the ship is starting to be tossed about by waves which can be heard rolling in the left hand. The captain calls for the sails to be furled lest they be torn to shreds by the gale force winds. They have endured many storms before, but this is unlike any The Tempest has encountered. The men try to lift their spirits with tales of what has come before and the acts of heroism which have helped them to survive. Their bravado is cut short as the storm intensifies. Lightning flashes across the sky and they realize now that there may be no coming back from this voyage. The swells grow ever larger and cracks can be heard throughout the ship as support beams and masts give way under the tremendous stress. There is no hope of reaching the safety of land as she begins to take on water, but the crew does not abandon their posts…they do not know the meaning of surrender. A final series of cracks can be heard as The Tempest slips beneath the waves into the waiting abyss.
$3.99
3.62 €
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Piano solo
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Michael Swedberg
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Prelude in A minor, Op. 1, No. 2
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Niska Music Publishing
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SheetMusicPlus
Carson Cooman: Concerto for Bass Trombone and Six Players (2006), score only
Large Ensemble Cello,Clarinet,Double Bass,Flute,Multi-Percussion,Trombone,Viola - Level 5 …
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Large Ensemble Cello,Clarinet,Double Bass,Flute,Multi-Percussion,Trombone,Viola - Level 5 - Digital Download SKU: A0.533688 Composed by Musik Fabrik Music Publishing. Concert,Contemporary,Standards. Score and parts. 26 pages. Musik Fabrik Music Publishing #3038603. Published by Musik Fabrik Music Publishing (A0.533688). Concerto for Bass Trombone and Six Players (2006) was commissioned by the CarnegieMellon School of Music for the Carnegie Mellon Contemporary Ensemble, Walter Morales,director. The work is dedicated to trombonist Jim Siders, for whom the solo part was written.The work is scored for solo bass trombone with an ensemble of primarily “dark†instruments– alto flute, clarinet, viola, cello, contrabass, and percussion. The solo bass trombone is thefocal point of the musical discourse, acting throughout largely as a protagonist – with muchmaterial best described as bitterly lyrical. The work maintains a generally dark, obsessive,and bitter tone throughout.Unlike some concerti, however, the work is not about an aggression between soloist and therest of the ensemble. Rather the bass trombone is “first†among a collection of like mindedindividuals – all expressing the same sentiments and aggressions.The opening section is marked “spasmodic.†Quiet nervous twitches serve as a backdrop to amelodic unfolding of the basic material and interval content. The end of this part “breaksapart†to reveal a section marked “slow, otherworldly.†The harmonic material starts modal,open, and “distant†in feeling (perhaps a recollection of a distant past) before becominggradually gnarled again.The trombone leads towards the next section: an ever-building athletic “moto perpetuo.†Thisreaches its peak in an aggressive and horribly angry climax – with a wide-ranging trombonepart marked “wildly raving; insane, uglyâ€, obliterated by bass drum hits and shriekinghammer blows from the other instruments.A nervous and timid interlude returns to the nervous twitching of the opening – thougheverything is slightly slower and more hushed than before, finally breaking off into anenigmatic coda.Alto FluteClarinet in BbPercussion (1 player):bass drum, marimba, crotales(Percussionist needs one rosined bow for crotales.)ViolaCelloContrabassThis is the score only. The score and parts are sold as another item
$19.95
18.09 €
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Musik Fabrik Music Publishing
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Carson Cooman: Concerto for Bass Trombone and Six Players
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Musik Fabrik Music Publishing
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SheetMusicPlus
String Quartet no. 3 "Man"
String Quartet: 2 violins, viola, cello
String Quartet String Quartet - Digital Download SKU: A0.1010674 Composed by Zachar…
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String Quartet String Quartet - Digital Download SKU: A0.1010674 Composed by Zachary C. Daniels. 20th Century,Contemporary. Score and parts. 109 pages. Divisi Labs #6563629. Published by Divisi Labs (A0.1010674). Score and PartsThis piece was written, for the most part, in Fall 2015 with the third interlude and final movement following in the Fall of 2016. The quartet depicts the story of mankind. The first movement, Birth from the Cosmos, represents the formation of the universe and everything in it, culminating in man. The second movement, starting with an aggressive cello ostinato, represents not only the fall of man, but also advancement and progress toward becoming a unified, advanced society. The third movement, cold and open, looks back at our short time on Earth through the eyeglass of eternity, showing what little impact our chaotic existence has on the grand scheme of things in an infinitely vast universe. A cello cadenza signals the arrival of the final movement which, in contrast to the third, shows our impact on the universe as we are shown the impacts of what we leave behind and left with a singular question: Did our actions matter, or did we fail to leave our mark on an infinite universe?
$14.99
13.59 €
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String Quartet: 2 violins, viola, cello
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Zachary C
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String Quartet no. 3 "Man"
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Divisi Labs
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SheetMusicPlus
Boudicca, Queen of the Iceni
Brass ensemble
Brass Ensemble - Level 3 - Digital Download SKU: A0.1027894 Composed by William Els…
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Brass Ensemble - Level 3 - Digital Download SKU: A0.1027894 Composed by William Elsom. Contemporary. Score and parts. 46 pages. Will Elsom #3053855. Published by Will Elsom (A0.1027894). Programme Notes Boudicca became the Queen of the Iceni upon the death of her husband, Prasutagus. The Iceni had lived in relative peace with the Romans, with Prasutagus living as a client king, paying tribute to Rome. The Romans refused to accept a woman as the ruler, and sought to assume total control. To demonstrate its superiority, a Roman Legion attacked the Iceni, captured Boudicca and made her watch as her daughters were raped. She sought revenge, allying the Iceni with the Trinovantes under her command, and wreaked havoc, destroying many Roman settlements. Boudicca was only stopped when Rome sent one of the best generals of the time, Seutonius Paulinus. Seutonius has been depicted offering Boudicca surrender with honour and her life, but when she rejected this, his tactical acumen proved superior, and all the Iceni and Trinovantes were wiped out. 1 – Boudicca Unites the Tribes The piece opens with the initial statement of Boudicca’s theme. Figure 3 depicts Boudicca’s reign as the leader of the Iceni, interspersed with a sadder theme depicting her lonely widowhood. Figure 4 sees the tribes called together with a drinking song and Figure 5 is the war cry, as Boudicca gives a rousing speech, first to her own warriors then to the Trinovantes. The second time bar before Figure 7 sees the tribes fall into a restless sleep. Amid early morning mists, Figure 7 sees restless horses, with distant fanfares heard, signalling the coming of the Romans. The Romans main theme is at Figure 8, with a constant fanfare over the top, signalling the confidence of the leaders. Figure 10 sees the Iceni and Trinovantes coming slowly out of hiding, and Boudicca’s theme growing in volume until the death chords signify the tribes have prevailed. 2. The Bards Sing The tribes sing a hymn to an unnamed Pagan God. At Figure 13, the Euphonium develops Boudicca’s theme depicting Taranis, the Bard of the Iceni, singing wistfully of happier times. He then makes an impassioned speech for peace, before cutting off in mid sentence. He then sits quietly (Figure 16) fearing the future. Figure 17 gives a euphoric and hopeful rendition of the hymn, as if Taranis has not been heard. 3 – Epping NB: It is my piece, and I say Epping is as credible as anywhere as the site of the final battle, and will not enter into any correspondence on the matter! A fanfare awakens the two tribes. Figure 18 sees the tribes prepare for a final battle, and the repeated section depicts two victories at Verulanium (St Albans) and Londinium (London – then a small barracks). At Figure 20 Taranis has a vision, and tries to change Boudicca’s mind about another attack. Boudicca listens to him, but tells him the die is cast, and there is no going back. Death or Glory… The war cry ensues at Figure 21, but at Figure 22 it is the Romans’ theme heard, and the death chords (Figure 24) signify that it is the two tribes that are being slaughtered this time. Brave souls (Repiano and Flugel at 24) fight on in vain to allow Boudicca to escape. At Figure 25 Boudicca prays, but realising all is lost, at Figure 26 drinks poison. As she dies, the last thing this brave British heroine hears is the sound of the Roman’s theme, signifying Seutonius’ total victory. William Elsom, December 2004
$60.00
54.39 €
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Brass ensemble
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William Elsom
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Boudicca, Queen of the Iceni
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Will Elsom
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SheetMusicPlus
Rock-a-My-Soul. - 3 part Choral with Soli
Choral 3-part
Choral Choir (3-Part) - Level 3 - Digital Download SKU: A0.844645 Composed by Phil …
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Choral Choir (3-Part) - Level 3 - Digital Download SKU: A0.844645 Composed by Phil Beaman. Folk,Jazz,Spiritual. Octavo. 13 pages. Phil Beaman #4719605. Published by Phil Beaman (A0.844645). This piece is a Showstopper! Rock-a-My-Soul is a Choral piece based on the traditional folk/gospel/spiritual. I originally envisioned this piece for a Middle School Choir, but it works well with any group that wants to have fun. It is written in 3 part Treble clef which the conductor may assign as they see fit for their choir and performance. (Part 3 works very well with male voices.) Parts all stay within an octave from Middle C to C above. This lively version uses many styles of jazz to drive this piece, yet there is also a recurring descending third ostinato which is the rocking comfort this piece imparts. The piano part plays an important role in driving this piece and setting the moods. Each of the seven sections shifts the mood and jazz style but maintains a level of energy. After completing the jazz arrangements of the traditional chorus I tried various ways to extend the piece. One day while working on this piece I saw a news clip about another school bullying incident. I immediately made the connection -- at its heart Rock-a-My-Soul is really about overcoming obstacles to find comfort and acceptance. So I wrote some additional lyrics to create an anti-bullying, anti-depression section. I have soloists deliver the main lines to make it personal and invitational then the choir backs them up, call and response style, with Everything's gonna be alright. Lyrics throughout are all carefully worded so that the song may be used for either secular or sacred purposes. The context and location where it is sung will flesh out the implied and intended meaning. If sung in school it means you have friends here who accept you; if sung in your place of worship then it means that your God accepts you.Simple power, beauty and meaning all wrapped in joyous jazz!13 page score, 4:00 minute performancerecording is various excerpts of the accompaniment to show different stylistic sections
$2.99
2.71 €
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Choral 3-part
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Phil Beaman
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Rock-a-My-Soul. - 3 part Choral with Soli
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Phil Beaman
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SheetMusicPlus
A Soldier's Memory - Instrumental Parts
Orchestra
Full Orchestra - Level 2 - Digital Download SKU: A0.940117 Composed by Christian Ja…
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Full Orchestra - Level 2 - Digital Download SKU: A0.940117 Composed by Christian James Jesse. Contemporary,Film/TV,Folk,Holiday,Patriotic. Score and parts. 99 pages. Christian James Jesse #5751477. Published by Christian James Jesse (A0.940117). After each tour of duty, every soldier has a range of emotions and thoughts racing through his or her head as the make the trip home. A Soldier’s Memory explores a few of those emotions including feelings of heroism, memories of being reunited and PTSD flashbacks. I wanted to share my love and support of our nation’s military by telling a more realistic story rather than an idealized victorious celebration. Coming from a family of many veterans, I am honored to write a piece remembering our nation’s veterans’ stories.-A Soldier’s Memory was commissioned by Maestro Hector Guzman for the Irving Symphony Orchestra as part of the SMU-Irving Symphony Orchestra Student Composer-in-Residence program for the 2018-2019 Concert Season. A Soldier’s Memory premiered on November 3rd, 2018 at the Irving Arts Center by the Irving Symphony Orchestra conducted by Maestro Hector Guzman. -https://christianjesse.com/a-soldiers-memory
$20.00
18.13 €
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Orchestra
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Christian James Jesse
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A Soldier's Memory - Instrumental Parts
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Christian James Jesse
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SheetMusicPlus
A Soldier's Memory - Conductor Score - Score Only
Orchestra
Full Orchestra - Level 2 - Digital Download SKU: A0.940116 Composed by Christian Ja…
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Full Orchestra - Level 2 - Digital Download SKU: A0.940116 Composed by Christian James Jesse. Contemporary,Film/TV,Folk,Holiday,Patriotic. Score and parts. 32 pages. Christian James Jesse #5751467. Published by Christian James Jesse (A0.940116). After each tour of duty, every soldier has a range of emotions and thoughts racing through his or her head as the make the trip home. A Soldier’s Memory explores a few of those emotions including feelings of heroism, memories of being reunited and PTSD flashbacks. I wanted to share my love and support of our nation’s military by telling a more realistic story rather than an idealized victorious celebration. Coming from a family of many veterans, I am honored to write a piece remembering our nation’s veterans’ stories.-A Soldier’s Memory was commissioned by Maestro Hector Guzman for the Irving Symphony Orchestra as part of the SMU-Irving Symphony Orchestra Student Composer-in-Residence program for the 2018-2019 Concert Season. A Soldier’s Memory premiered on November 3rd, 2018 at the Irving Arts Center by the Irving Symphony Orchestra conducted by Maestro Hector Guzman. -https://christianjesse.com/a-soldiers-memory
$20.00
18.13 €
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Orchestra
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Christian James Jesse
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A Soldier's Memory - Conductor Score - Score Only
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Christian James Jesse
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SheetMusicPlus
Bwana Nipe Pesa (for S/A.T.B voices)
Choral SATB
Choral Choir (Mixed) - Digital Download SKU: A0.1023308 Composed by Super Mazembe. …
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Choral Choir (Mixed) - Digital Download SKU: A0.1023308 Composed by Super Mazembe. Arranged by Evans Obanda Mbinji. A Cappella,African,Jazz,Pop. Octavo. 7 pages. Evans Obanda Mbinji #5718561. Published by Evans Obanda Mbinji (A0.1023308). Bwana Nipe Pesa About this piece . . . . Kenyan Zilizopendwa - Song - Arranged by Evans O. Mbinji Zilizopendwa (literally, those which were loved') is a term used in Kenya to refer to early Kenyan popular music, synonymous with the term golden oldies as used in the United States. Kiswahili is the national language of Kenyan.All vowel sounds are pure as in Latin. Bwana Nipe Pesa is a Zilizopendwa song that should be performed with enthusiasm, Dance movement, However expressive accents should be given at appropriate points in the musical and textual phrases. Literal Transalation Bwana nipe pesa –Father give me money Watoto wana njaa – The children are hungry Lakini mke wako- But your wife anapenda kutangatanga – Is a loose lady, who moves with everyone Majirani wanachoka kumuona –Neighbours are tired of seeing her Fungueni milango anakuja – Close all the doors she is coming. Watu wote wa Nairobi,Mombasa – People from Nairobi & Mombasa Wakuona kila siku – They keep seeing you every day. Tafadhali bwana rudi – please father come back. Percussion Notes -Improvisation is encouraged. Percussion must never dominate the texture, but rather remain supportive -The piece my be performed a cappella However the effect of the piece will be greatly enhanced by using a variety of improvised percussion instruments like (conga,shakers,claves and rattles) The accompanying ensemble should take care to allow the the choir to be heard. About the Arranger Evans Obanda Mbinji is a composer,clinician,adjudicator, conductor,music educator and the founding Artistic Director of Jobel Chorale ,Zetech University. He has directed many choirs both in Kenya and international. And is a long-standing member of Kenyan Choral Directors Trust and ACDA. I hope you Enjoy! - Evans O.Mbinji .
$4.00
3.63 €
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Choral SATB
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Super Mazembe
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Bwana Nipe Pesa
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Evans Obanda Mbinji
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SheetMusicPlus
Apollo 11 (Homecoming)
Choral SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.510172 Composed by Glyn Le…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.510172 Composed by Glyn Lehmann (music), Phil Cummings (lyrics). 20th Century,R & B,Rock. Octavo. 11 pages. Glyn Lehmann #3542459. Published by Glyn Lehmann (A0.510172). The final song from SPACE RACE - a song-cycle celebrating the 50th anniversary of the moon landing on 20 July 1969. Other songs are Gagarin (Beyond Blue Sky), Space Race (To Every Question) and The Children of the World (July 1969). More information at https://glynlehmann.com/Space-RaceThe Apollo 11 mission was the culmination of years of dedication and experimentation in the attempt to land a man on the moon. This song traces the tense journey back home to Earth made by the Apollo 11 astronauts as they leave the moon's surface - ultimately returning as heroes. The subdued drama of the verses climaxes with the gospel-influenced triumph of the choruses.https://youtu.be/oAUjyzccdhMApollo 11 (Homecoming)Words by Phil Cummings, Music by Glyn LehmannVerse 1Time to leave Tranquillity BaseFor the finish line the end of the raceMoon-dusted suits, deep black skiesOn a dark horizon see Earth riseA cargo of rocks, soil and dustStrapped in the module, feel the thrustChorus 1 After days and days of being aloneThe astronauts were coming homeThey were coming home After days and days of being aloneThe astronauts were coming homeThey were coming home Verse 2The module falls, the angle is rightAnd the heat shield is burning brightInterludeRadio silence into the atmosphereNo voice of calm, no voices to hear Those that wait on the groundHold their breath, don’t make a soundThen from the silence a voice is clearCalling for the world to hearControl room erupts with shouts and cheersHigh in the sky the module appearsChorus 2This is the homecoming, this the homecomingThose brave men are coming, coming homeAfter days and days of being aloneThe astronauts were coming homeThey were coming home After days and days of being aloneThe astronauts were coming homeThey were coming home CodaHome, they were homeOur homeLyrics © 2018 Phil Cummings
$2.50
2.27 €
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Choral SATB
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Glyn Lehmann
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Apollo 11
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Glyn Lehmann
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SheetMusicPlus
The Fightin' 55th (for Brass Quintet & Percussion)
Brass Quintet: 2 trumpets, horn, trombone, tuba
Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158199 Composed by…
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Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158199 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,March,Patriotic. 32 pages. Https://gildedmusicpress.com/ #758476. Published by https://gildedmusicpress.com/ (A0.1158199). There is nothing more quintessentially military than the grand sound of marches at special military events. Hundreds of marches have served their purposes through the many decades of military tradition in the United States of America. This 3.5-minute march was composed for the occasion of the change of command of the 55th Wing—“The Fightin’ 55thâ€â€”under Air Combat Command, located at Offutt Air Force Base in Nebraska. The ceremony took place on June 14, 2019, which was also Flag Day. The new march served as a grateful tribute to the outgoing Commander, Colonel Michael H. Manion, and a welcoming gesture to the new Commander, Colonel Gavin P. Marks. Printed copies of the score were presented to the Commanders before the ceremony, and the march was premiered as the final pre-ceremony musical selection. The opening motifs are strongly reminiscent of the introductory measures of the “Air Force Song†most commonly played by Air Force brass quintets. Keeping in tradition with the form of most marches, the “Trio†section presents new material in a new key (down a fifth), with a contrastingly quiet dynamic. The opening motif of the Trio strain is a mutation, or a paraphrase, of “Anchors Aweighâ€, emphasizing the joint-force nature of the 55th Wing. The melody is repeated with a louder dynamic and a countermelody in the horn, and then is repeated once more with increased excitement in the accompaniment, variety of dynamics, and even a temporary key shift. Straying from the form most used by the “March Kingâ€, John Philip Sousa, Dr. Thrower omitted a fourth or final strain, and instead he modulated the key back to the original B-flat major and brought back the melodic content from the first strain. This form predates Sousa, and was more commonly used in Europe and early America. It smacks of “sonata formâ€, and even the modern formal designation of “recapitulating march†alludes to sonata form. The final recapitulating strain repeats with an obbligato soaring above it in the first trumpet part, now on piccolo trumpet. The march ends with a short coda that brings back the opening motivic allusion to the Air Force Song. Due to the selected formal structure, this march, “The Fightin’ 55thâ€, is much more unified than most typical marches. The very nature of military marches (including America’s beloved “Stars and Stripes Foreverâ€) displays four or even five completely unrelated melodies, or strains, throughout. The incorporation of thematic structure similar to that found in sonata form indeed makes “The Fightin’ 55th†an appropriate and even artistic concert march.
$24.95
22.62 €
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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Dr
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The Fightin' 55th
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https://gildedmusicpress.com/
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SheetMusicPlus
All Good Things Start with A Dream
Marimba
Instrumental Duet Instrumental Duet,Marimba,Voice - Level 4 - Digital Download SKU: A0.…
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Instrumental Duet Instrumental Duet,Marimba,Voice - Level 4 - Digital Download SKU: A0.939366 Composed by Adam B. Grim. Concert,Contemporary,Standards. Score and parts. 5 pages. Adam B. Grim #4331275. Published by Adam B. Grim (A0.939366). The marimba piece All Good Things Start With a Dream comes from seeing the sunrise and sunset across many places in the United States during Ohio Northern’s National Singers Tour of 2016. As I was sitting in the back of our host’s car, my friend Shawn was talking to our gracious host about his aspirations of becoming a teacher even though he was starting later in life. During the conversation, we were driving across the prairie to the home we would be staying in. As our host said, Follow your dreams, and your life will never be boring Shawn replied, Oh definitely. I believe that all good things start with a dream. That is the inspiration for this piece. Sunrise, inspiration, and a dream.
$9.00
8.16 €
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Marimba
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Adam B
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All Good Things Start with A Dream
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Adam B. Grim
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SheetMusicPlus
Missa Solemnis, op. 27 (vocal score)
Choral SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian…
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #868444. Published by Adrian Gagiu (A0.1277132). Missa Solemnis in B major, op. 27, vocal score and piano part (for rehearsal purposes only). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$87.99
79.77 €
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Choral SATB
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
Missa Solemnis, op. 27 - Score Only
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$100.00
90.65 €
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Orchestra
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score Only
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Adrian Gagiu
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SheetMusicPlus
Apollo 11 (Homecoming)
Choral 2-part
Choral Choir (SA) - Level 3 - Digital Download SKU: A0.510158 Composed by Glyn Lehm…
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Choral Choir (SA) - Level 3 - Digital Download SKU: A0.510158 Composed by Glyn Lehmann (music), Phil Cummings (lyrics). 20th Century,Rock. Octavo. 7 pages. Glyn Lehmann #3507411. Published by Glyn Lehmann (A0.510158). The final song from SPACE RACE - a song-cycle celebrating the 50th anniversary of the moon landing on 20 July 1969. Other songs are Gagarin (Beyond Blue Sky), Space Race (To Every Question) and The Children of the World (July 1969). More information at songlibrary.net/Space-RaceThe Apollo 11 mission was the culmination of years of dedication and experimentation in the attempt to land a man on the moon. This song traces the tense journey back home to Earth made by the Apollo 11 astronauts as they leave the moon's surface - ultimately returning as heroes. The subdued drama of the verses climaxes with the gospel-influenced triumph of the choruses.https://youtu.be/oAUjyzccdhMMore SPACE RACE song-cycle songs on SheetMusicPlus1. Gagarin https://www.sheetmusicplus.com/title/gagarin-beyond-blue-sky-digital-sheet-music/20728438?ac=12. Space Race https://www.sheetmusicplus.com/title/space-race-to-every-question-digital-sheet-music/20728434?ac=13. The Children of the World https://www.sheetmusicplus.com/title/the-children-of-the-world-july-1969-digital-sheet-music/2072843.......4. Apollo 11 (Homecoming) https://www.sheetmusicplus.com/title/apollo-11-homecoming-digital-sheet-music/20728440?ac=1Apollo 11 (Homecoming)Words by Phil Cummings, Music by Glyn LehmannVerse 1Time to leave Tranquillity BaseFor the finish line the end of the raceMoon-dusted suits, deep black skiesOn a dark horizon see Earth riseA cargo of rocks, soil and dustStrapped in the module, feel the thrustChorus 1 After days and days of being aloneThe astronauts were coming homeThey were coming home After days and days of being aloneThe astronauts were coming homeThey were coming home Verse 2The module falls, the angle is rightAnd the heat shield is burning brightInterludeRadio silence into the atmosphereNo voice of calm, no voices to hear Those that wait on the groundHold their breath, don’t make a soundThen from the silence a voice is clearCalling for the world to hearControl room erupts with shouts and cheersHigh in the sky the module appearsChorus 2This is the homecoming, this the homecomingThose brave men are coming, coming homeAfter days and days of being aloneThe astronauts were coming homeThey were coming home After days and days of being aloneThe astronauts were coming homeThey were coming home CodaHome, they were homeOur homeLyrics © 2018 Phil Cummings
$2.50
2.27 €
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Choral 2-part
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Glyn Lehmann
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Apollo 11
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Glyn Lehmann
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SheetMusicPlus
Deep Green - Submerge (Elijah Jones) W/Backing Track
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.930448 Composed by Elijah Jones. Ar…
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Piano Solo - Level 3 - Digital Download SKU: A0.930448 Composed by Elijah Jones. Arranged by Elijah Jones. 20th Century,Contemporary. Score. 4 pages. Elijah Jones #5372181. Published by Elijah Jones (A0.930448). Deep Green is a motivational track from the album Submerge by Elijah Jones, it was released on March 20, 2020. And due to popular demand - it now has sheet music. The song, as Jones expressed. Is about stepping into an adventure with your loved one, or someone you deeply care about. The album Submerge is a lead up album to Jones's upcoming major EP Set for later this year.Includes:Full Backing Track to the song Deep Green by Elijah JonesPiano Intermediate Sheet music to the song Deep Green by Elijah Jones.
$4.99
4.52 €
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Piano solo
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Elijah Jones
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Deep Green - Submerge
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Elijah Jones
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SheetMusicPlus
The Story Of Reuben Clamzo & His Strange Daughter
Choral TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…
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Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
3.62 €
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Choral TTBB
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Arlo Guthrie
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The Story Of Reuben Clamzo & His Strange Daughter
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Edition Craig Hanson
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SheetMusicPlus
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