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You've selected:
FLY AS WE DO
Sheetmusic to print
26 sheet music found
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FLY AS WE DO
Choral 3-part
Choral Choir (3-Part) - Digital Download SKU: A0.991710 Composed by MICHAEL L. RICC…
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Choral Choir (3-Part) - Digital Download SKU: A0.991710 Composed by MICHAEL L. RICCIARDI AND JOHN D. NUGENT. Arranged by JOHN D. NUGENT. Broadway,Children,Musical/Show. Octavo. 12 pages. Creative Horizons Music Publishers (ASCAP) #3063173. Published by Creative Horizons Music Publishers (ASCAP) (A0.991710). A BEAUTIFUL SOARING BALLAD FOR THE TENOR OR BARITONE VOICE. PART OF THE SCORE FROM THE BROADWAY BOUND STAGE MUSICAL THE WILD SWANS. BASED ON THE FAIRY TALE OF THE SAME NAME WRITTEN BY HANS CHRISTIAN ANDERSEN, THE SAME AUTHOR WHO GAVE THE WORLD THE LITTLE MERMAID AND FROZEN. A PERFECT SONG FOR USE IN A MALE ACTOR'S STAGE AUDITION.
$3.29
3.03 €
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Choral 3-part
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MICHAEL L
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FLY AS WE DO
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Creative Horizons Music Publishers
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SheetMusicPlus
Do you want to build a rocket?
Choral 2-part
Choral Choir (2-Part) - Level 2 - Digital Download SKU: A0.1099392 Composed by Sall…
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Choral Choir (2-Part) - Level 2 - Digital Download SKU: A0.1099392 Composed by Sally Whitwell. Children,Classical,Instructional. Octavo. 9 pages. Sally Whitwell #703279. Published by Sally Whitwell (A0.1099392). Do you want to build a rocket? was originally composed for a wonderful group of children I worked with at the Young Music Society Winter School in Canberra. The first day that I went in to meet them, I sat down with them on the floor and asked them what kind of performance they wanted to build. It was around the time that the Disney animated feature Frozen was very popular with kids. Or not, as it turns out, because one little boy’s hand shot up straight away and he said: “Tell you what I don’t wanna build: a stupid snowman!†He suggested we build a rocket instead. So that’s what we did. It’s a song about the wonder and curiosity we feel about the universe, of our desire to explore it, and of the determination and grit required to achieve that dream. It’s some very hard yards to build a rocket and to learn to fly it, but our dreams are always worth the work! I hope you have fun with this song. Teachers, I invite you to get as theatrical as you dare with it. In our original performance we had all these toy instruments, toy toolkits, and painted cardboard boxes. (So many boxes!). Let’s just say, if you think it’s gonna be ‘too much’, it’s probably exactly the right amount. Sally Whitwell August 2022.
$1.99
1.83 €
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Choral 2-part
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Sally Whitwell
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Do you want to build a rocket?
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Sally Whitwell
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SheetMusicPlus
When do We Get to the Tunnel? Song and Waltz Chorus
Piano, Voice
Piano and voice - Digital Download SKU: LV.18607 Composed by Ike Browne. Night, Tun…
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Piano and voice - Digital Download SKU: LV.18607 Composed by Ike Browne. Night, Tunnels, Railroads, Mountains, Travel, Brides, Railroad employees, Passengers, Gambling, Courtship & love. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.18607). When do We Get to the Tunnel? Song and Waltz Chorus. Words and Music by Ike Browne. Published 1888 by I.S. Browne in North Adams, Mass. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Night, Tunnels, Railroads, Mountains, Travel, Brides, Railroad employees, Passengers, Gambling, Courtship & love. First line reads While traveling thro' the country, As o'er the rail we fly.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
5.52 €
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Piano, Voice
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Ike Browne
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When do We Get to the Tunnel? Song and Waltz Chorus
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Joy, Joy, Everyone Is Flying - Easy Trumpet Duet
2 Trumpets (duet)
Trumpet Duet Trumpet - Level 2 - Digital Download SKU: A0.1088949 Composed by Eddie…
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Trumpet Duet Trumpet - Level 2 - Digital Download SKU: A0.1088949 Composed by Eddie Lewis. Classical,Contemporary,Instructional. Score. 4 pages. Tiger Music #693161. Published by Tiger Music (A0.1088949). Give your students something modern to work on. Joy, Joy, Everyone Is Flying trumpet duet uses a modern compositional technique. Joy, Joy Everyone Is Flying trumpet duet is actually part of my recent modern composition series. The idea was to see if I could write one of those compositions for trumpet duet with Trumpet Tyro limitations. Being composed from a nontraditional technique, Joy, Joy, Everyone Is Flying does not sound like the typical “do re mi†beginner band music. As an educational piece, it serves as a wonderful opportunity to expose the students to exotic sounds. The piece begins like a traditional imitative piece, but you soon hear a non-traditional modality. That modality is emphasized in the B section with grace notes that give it an eastern hint. Joy, Joy, Everyone Is Flying is a short duet, lasting under a minute. This is because it is written for students who were beginners only months ago. Other Duet Books I have published similar duets to this one in my two other duet books for this level. The first and most popular is Celebrations which has trumpet duets for all skill levels. The second, which has some of the Celebrations duets, is called Twenty Trumpet Tyro Duets. In the trumpet community we use duets as educational tools. They are a wonderful way to expose students to counterpoint, different harmonies and different rhythmic ideas. By including more of the modern duets in the easier duet books, the younger students have an opportunity to experience non-traditional music in what is essentially a chamber music environment. The Experimental Music Series I’ve published a number of these experimental works for trumpet and brass instrumentations. The newer ones were in response to the popularity of the fishing suites. I had gone years without writing any of these compositions and wanted to apply the techniques to trumpet trio. The fishing suites are a suite of suites, each suite being dedicated to a different composition technique. Of those three suites, Catch Suite is the one that uses the same technique as Joy, Joy, Everyone Is Flying. Other compositions utilizing this compositional technique include The Lotus Eater and Voice of the Prophets. SKILL LEVEL The skill level for Joy, Joy, Everyone Is Flying is Trumpet Tyro. Trumpet Tyro is the second of seven levels in our system. This is music for trumpet students with a range up to fourth space E. The music in this level is limited to three flats or sharps. We almost bumped this piece up into the Trumpet Player level because of all the accidentals, but eventually decided to keep it in the Trumpet Tyro level. Technically, the accidentals all fall within acceptable keys for this level, so we kept it at the lower level. That said, because it is non-traditional, it will take a little longer to learn. The melodic sounds will not come as readily as the traditional “do re mi†stuff. Practice Recommendations Listening to the recording is a very important part of learning something with new sounds. You want to be able to hear those sounds. Here’s an interesting bit of trivia for you… When I am using one of these original compositional techniques, I know when I’ve made a mistake because I can hear that it sounds different. I believe this is the sign of a technique that works. If there’s a mistake, the composer should be able to hear that there’s something wrong. Well, performing music that utilizes these sorts of non-traditional techniques goes far better when the performers can also hear the music that way.
$4.99
4.6 €
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2 Trumpets (duet)
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including more of the modern duets in the easier duet books, the younger students have an opportunity to experience non-traditional music in what is essentially a chamber music environment
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Eddie Lewis
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Joy, Joy, Everyone Is Flying - Easy Trumpet Duet
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Tiger Music
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SheetMusicPlus
The Flying Dutchman
Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 2 Ventil-Hr. · 2 Natur-Hr. · 2
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Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 2 Ventil-Hr. · 2 Natur-Hr. · 2 Ventil-Trp. · 3 Pos. · Basstb. - P. - Str. Auf der Bühne: 3 Picc. (womöglich mehrfach besetzt) - 6 Hr. - Tamtam - Windschleuder - Digital Download SKU: S9.Q25915 Romantic Opera in 3 Acts. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - Opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 135' 0. Schott Music - Digital #Q25915. Published by Schott Music - Digital (S9.Q25915). German • English.An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DER FLIEGENDE HOLLÄNDER (Original version) With this edition, the original version of Wagner’s opera Der fliegende Holländer [The flying Dutchman] WWV 63 is made available to the public for the first time in piano score form. The score on which the edition is based was published in the Richard Wagner-Complete Edition 1983: Richard Wagner. Collected works Vol. 4, I-II, The Flying Dutchman. Romantic opera in three acts (original version 1841), edited by Isolde Vetter (Schott Music International, Mainz, RWA 104-10/RWA 104-20).†(Egon Voss, quoted from the foreword of the new Der fliegende Holländer vocal score) Original version and 1842-1880 version The original version of Der fliegende Holländer dates from 1841. Wagner, at the time a completely unknown Kapellmeister in France, trying to get a foothold in Paris, saw the opportunity for a stage work that would meet the fashion at the Paris Opera of performing several short works one after another. Der fliegende Holländer, conceived in 1840 and composed in 1841, seemed to him suited to the purpose. In 1841, even when Wagner no longer counted on a success in Paris, he still held to the conception of a one-act opera and offered the work to German opera houses under the title of “Romantic Opera in One Act and Three Scenesâ€. This version is set in Scotland, taking as the literary model for the opera Heinrich Heine’s novel fragment “From the Memoirs of Mr. Schnabelewopskiâ€, and the protagonists have English names. This version was never performed in Wagner’s lifetime. Beginning in 1842, the work went through a tale of constant revision: Even before the Dresden premiere (2nd January 1843) Wagner undertook fundamental alterations. He transposed the location from Scotland to Norway, changed character’s names as appropriate, divided the opera into three acts – not least due to considerations of scene changes – and transposed Senta’s Ballad from A minor to G minor. It was in this version that the score of the opera went to print in 1845. For a performance in 1860 he composed the later so-called ‘Tristan’ or ‘Redemption’ ending to the Overture. Until the very end of his life, Wagner contemplated a plan for a final score or a definitive vocal score: it never came to be, so that to this day, as with Tannhäuser, we still do not have Der fliegende Holländer in a final version. Based on the research conducted in the creation of the Complete Edition, our editions contain, in one case the original version of 1841, while the other essentially goes back to the first printing of the score of 1845, but with the addition of the source material for the retouchings dating from 1842 to 1889. VOCAL SCORES The original version of the opera was made available for the first time in a vocal score in 2005 (ED 8065). The completely revised new edition of the vocal score of the 1842-1880 version appeared in 2011 (ED 20531).Les opéras de Richard Wagner paraissent pour la première fois sous forme de piano-chant chez Schott en version originale. Sont déjà publiés dans la série : L’Or du Rhin, Lohengrin, Parsifal et Le Vaisseau fantôme (première version de 1841 et version 1842-1880). Les autres opéras de Wagner représentés à Bayreuth paraîtront d'ici 2013, année anniversaire de la naissance du compositeur.
$42.99
39.63 €
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Richard Wagner
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The Flying Dutchman
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Schott Music - Digital
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SheetMusicPlus
Requiem
Chamber Orchestra
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Dow…
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
51.61 €
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Chamber Orchestra
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Un angelo hippie
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.976834 Composed by Monica Bergo. Ch…
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Piano Solo - Level 3 - Digital Download SKU: A0.976834 Composed by Monica Bergo. Children,Christmas,Spiritual. Score. 4 pages. Monica Bergo #3235417. Published by Monica Bergo (A0.976834). 2017 Holiday Contest Entry AN ANGEL HIPPIE It was there abandoned sad not fly more Around us mud and horror If you seek love there is not... Come here, close to me, you're scared , I know, here the faith will not save you But you can fly away I do not understand why dirty your beautiful colors down here . I'm here is because I was looking for you , just here where it all began I'm here to appease the evil that Christmas gives birth to you.... Search , search in the past face everything that has been destroy all ghosts Defeat your fears remove dark areas walk all the way returns, with me close , at that time now passed , are you ready? now we fly you and I. Around us screams and greyness Tell me where is the love ... you feel it too ? Today is Christmas but here there is no peace away from here, away from here I want my reality I open my eyes and you are not there more as I try to grab your memory that disappears in my hands I have your feather….. Monica Bergo
$3.99
3.68 €
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Piano solo
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Monica Bergo
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Un angelo hippie
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Monica Bergo
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SheetMusicPlus
Sunday Bloody Sunday
String Quartet: 2 violins, viola, cello
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.1…
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String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.1153128 By U2. By U2. Arranged by Kyle Pudenz. Celtic,Contemporary,Irish,Pop,Rock. Score and parts. 30 pages. ViolinVagabond Music #753361. Published by ViolinVagabond Music (A0.1153128). One does not simply walk into their local music store to find a string arrangement like this one... Unlike much of what you'll find out in the world of cheap gig music, this was in fact written BY a string player who has played in symphony orchestras, rock bands, and everything in between; who knows what gigging as a quartet looks like, but also what will wow your audiences without requiring weeks of rehearsal to prepare. So leave your days of sight-reading through piano scores behind and give your quartet some firepower with this hard hitting chart, that will surely enable your ensemble to do at least a little justice to this legendarily emotional banger from Ireland's finest! Bono's soaring vocal melodies on this tune offer more than enough material on their own to tug at an audience's heartstrings, but in this chart you'll also find faithful adaptations of the iconic guitar & bass parts (performed by cello & viola) that truly make this song one of a kind. Using extended string techniques like chopping & strum bowing, you'll feel as if you're rocking out with the band... with no need to hire those annoying extra musicians. But as we all know, strings have much more to offer dynamically than simply plodding along mimicking a rock band, so I've taken several select moments in this chart to break away briefly from those driving grooves into more open, contemplative textures, truly allowing this instrumentation to shine in its own unique way. All of that said, maybe rhythmic string playing isn't your thing and you just need a chart that classical string players can read through on a cocktail gig where the buyer clearly doesn't pay attention to the lyrical content of their song requests. If that's the case, I've provided a couple alternate figures at the back of the book that can be used to replace the percussive stuff in the viola part, making it much simpler without sacrificing too much of the energy. OR if you want to go even further, maybe you DO want to hire that band after all so you can just relax and play some melody lines. Lucky for you I have included a rhythm section lead sheet as part of the music packet, so that any auxiliary musicians you want to add in will be able to follow along with ease. If you have absolutely no idea what chopping and strum bowing are, and you'd like to expand your horizons and learn a bit more, I highly recommend this resource: https://strum-bowing-groove-academy.teachable.com?coupon_code=KYLE20&affcode=459429_z8y3atf As mentioned before though, these techniques are not 100% necessary to handle this arrangement, so feel free to experiment on your own and add them in as you feel comfortable. Enjoy this chart, and don't be afraid to do a little head-banging once that groove really locks in! Performance time - approximately 4:05-4:20 depending on how hard you want to push the tempo Questions? Feel free to contact me via my website, www.kylepudenz.com/ or on the 'Insta @theviolinvagabond
$19.99
18.43 €
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String Quartet: 2 violins, viola, cello
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U2
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Sunday Bloody Sunday
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ViolinVagabond Music
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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
3.68 €
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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
Never Land
Small Ensemble B-Flat Clarinet,Cello,Horn,Piano,Voice - Level 3 - Digital Download SKU:…
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Small Ensemble B-Flat Clarinet,Cello,Horn,Piano,Voice - Level 3 - Digital Download SKU: A0.1031778 Composed by Mavis Pan. Contemporary. Score and parts. 15 pages. Mavis Pan Music #3554423. Published by Mavis Pan Music (A0.1031778). This composition is inspired by the Disney film, Peter Pan, which depicts a fictional character who is incredibly mischievous and charming yet possess the spirit of eternal youth. After Peter finds Wendy Darling, who has always believed in Peter Pan's existence and loves to share tales about him, Peter invites Wendy to an adventure to Never Land. Though Wendy doubts her ability to fly, Peter teaches her the only way to reach her dream land is to leave her worries behind and have faith and trust and a little help of pixie dust... Upon the farewell of a beloved who reminds me much the character of Peter Pan, I composed this piece as a remembrance of the happy time we have shared and wish his dreams come true as he continues to fly on his musical journey. Mavis Pan Come with me where dreams are born, and time is never planned. Just think of happy things and your heart will fly on wings, forever, in Never Land. Let not doubt crush your wings, let not fear steal your dreams. Dreams do come true, if only we wish hard enough. All you need is faith and trust and a little bit of pixie dust. I am young at heart for my love never grows old. The wrinkle of time can't be traced on my innocent soul. The ship of our dreams will soar and turn to gold. Oh darling please do hold my hand, and dream with me to Never Land. Fly oh fly , fly straight till the morning. Fly ...oh fly....oh fly and never never say goodbye.
$20.00
18.44 €
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Mavis Pan
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Never Land
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Mavis Pan Music
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SheetMusicPlus
EVERYTHING LIKE BEFORE
Piano solo
Piano Solo - Digital Download SKU: A0.1012713 Composed by Monica Bergo. Contemporar…
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Piano Solo - Digital Download SKU: A0.1012713 Composed by Monica Bergo. Contemporary. Score. 10 pages. Moni Bergo #5742995. Published by Moni Bergo (A0.1012713). Music and song composed by me ALL AS BEFORE Tired flower bends the head photos in carved marble sad smell of the past along your tree-lined avenue how much peace in this place where you stand hidden cobwebs on your time and the scent of regret while I touch your beautiful face I ask myself who decided that your time would stop and that for you all would be over I, minstrel of my time, tell a thousand stories chronicles written in pencil real-life stories story now finished my fingers still drive, find notes and then the enchantment to disperse them in the wind there was a king in love, by a bewitched spell, with the madwoman his queen and everything comes back as before there tucked away in a corner There is a pathetic clown Look closer: it’s a little girl and everything comes back as before You clown what would you do? You want to approach the king and then you want to tell him of her polluted heart but him, he does not want to be touched and you have to amuse her smile and do not tire continue your ... dance ... in the void and silence suspended in time for your queen and everything comes back as before before your leap do you want to fly high mixed-up Icarus you have fallen into emptiness the beating of the heart makes too much noise rumbles here within into emptiness and silence no, do not love me, now or ever and hang on till the ultimate pain she'll pressure you and insinuate herself into your mind and end by doing you harm but I invisible to your eyes and I want to hug you, you do not want I would like to tell you what you do not know of me and then on swings of fantasy my hand close to yours we'll soar to the heights where she is not there if you want I will reinvent myself for you And I may please you ,I know but with your eyes you’ve already answered me and hidden I'll go .. The winter does not end the cold seems eternal here the sun dies ,effaces itself and then disappears Once upon a time there was or still is, who knows a minstrel that no longer has a court and he belongs to nobody, and no one will stop him while closing the door ,the king will delete him abracadabra here in my Kingdom nothing caresses, no kiss of goodby my name in history was written in pencil to be able to delete from a faded page the mind has its woodworm and you can not heal it past, present and she who reigns everywhere pages of your life flowing through my fingers for a king, tired and sick, who has not had a happy ending the spell is broken and now the veil has fallen regret makes its way into him and the minstrel would approach him puppet in love ,now disconnected from your wires seek your child and there is nothing like before there is the sunset in your eyes but I'm here by your side a daddy and his little girl and there is nothing like before .... ..... the be.
$5.00
4.61 €
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Piano solo
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Monica Bergo
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EVERYTHING LIKE BEFORE
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Moni Bergo
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SheetMusicPlus
L'alchimista
Piano solo
Piano Solo - Digital Download SKU: A0.976873 Composed by Monica Bergo. Contemporary…
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Piano Solo - Digital Download SKU: A0.976873 Composed by Monica Bergo. Contemporary. Score. 9 pages. Monica Bergo #3243715. Published by Monica Bergo (A0.976873). 2017 Holiday Contest EntryThe alchemist Flames in the dark sparkle voice whispering echoes They say about you Sell useless dreams they say about me that I’m too much frail You are shutting down the day of this city the lights switch on of different realities and time dilates , begins another life It is tacit ritual of a sad tribes You firefly who shine can you tell me where he is? I seek the alchemist , you see yourself from my eyes rimmed on the nothing wide open they are full of fears and resemble your And here it is your circus , you wait me already not much has changed from a lifetime ago you do not, you are not aged a Peter Pan sick , who deduct his sins in the lives of others clown you always have so many , acrobats tired poised always between dream and reality and as a cat, I also see in the dark and over the waste to me slowly and then die the crises, then anxiety , that imperfect woman I do not stand me anymore I who have never been a daughter , your promise of another family and this need for love, that torture and kill me While you brush my long hair , from your hands give off crystals bright lights exploding inside as if by magic now I belong to you snakes tattooed lean on your hips we float in the sea of time how does I exist? always or yesterday I do not remember but only mysteries You adult man and I young girl abracadabra, as all before I tired and old and you still a child us travelers in a bogus time and while I explore the emptiness I have inside Nothing is sweeter than this torment You prepare the potion , the right proportion , the antidote and poison but you put more passion , My animal instinct and add a little 'of gall for those who have hurt me Mix all right , only you know what to do you seals good my heart , can not serve me evil plots to good , with fumes and vapors , ampoules almost full ,please ... let me drink ... But you can not , and I stay here , prisoner of your invisible world We like vampires , breath broken by sighs , arms forward, off eyes alchemist turn off my complaints You like a zombie , ready to sink your teeth ,that fascinates me and scares alchemist dissolve my torments .. but you can not .. and I stay here I'm looking for the courage to live It is being born on the day of this city Milano colored yourself with its activities shorten the shadows , the sun shines and a veil hiding now all his vices and my pace is tired , my face a bit 'more haggard ,emptiness inside me and where are you? I run always and do not know where I go I look back , I stumble and then I fall Slow walk among the tired souls alive but in a state of apparent death rips in the soul and on my clothes I have no tattoos, scars only and as the salt do on the wounds I burn at the memory of bad choices Iron bars are closed . echoes of voices deafen They say about you that you no longer have a tear they say about me that I’m free woman ... Monica Bergo
$3.99
3.68 €
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Piano solo
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Monica Bergo
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L'alchimista
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Monica Bergo
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SheetMusicPlus
ALCHEMIST
Piano solo
Piano Solo - Digital Download SKU: A0.1012717 Composed by Monica Bergo. Contemporar…
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Piano Solo - Digital Download SKU: A0.1012717 Composed by Monica Bergo. Contemporary. Score. 11 pages. Moni Bergo #5743015. Published by Moni Bergo (A0.1012717). Music and song composed by me The alchemist Flames in the dark sparkle voice whispering echoes They say about you Sell useless dreams they say about me that I’m too much frail You are shutting down the day of this city the lights switch on of different realities and time dilates , begins another life It is tacit ritual of a sad tribes You firefly who shine can you tell me where he is? I seek the alchemist , you see yourself from my eyes rimmed on the nothing wide open they are full of fears and resemble your And here it is your circus , you wait me already not much has changed from a lifetime ago you do not, you are not aged a Peter Pan sick , who deduct his sins in the lives of others clown you always have so many , acrobats tired poised always between dream and reality and as a cat, I also see in the dark and over the waste to me slowly and then die the crises, then anxiety , that imperfect woman I do not stand me anymore I who have never been a daughter , your promise of another family and this need for love, that torture and kill me While you brush my long hair , from your hands give off crystals bright lights exploding inside as if by magic now I belong to you snakes tattooed lean on your hips we float in the sea of time how does I exist? always or yesterday I do not remember but only mysteries You adult man and I young girl abracadabra, as all before I tired and old and you still a child us travelers in a bogus time and while I explore the emptiness I have inside Nothing is sweeter than this torment You prepare the potion , the right proportion , the antidote and poison but you put more passion , My animal instinct and add a little 'of gall for those who have hurt me Mix all right , only you know what to do you seals good my heart , can not serve me evil plots to good , with fumes and vapors , ampoules almost full ,please ... let me drink ... But you can not , and I stay here , prisoner of your invisible world It is being born on the day of this city Milano colored yourself with its activities shorten the shadows , the sun shines and a veil hiding now all his vices and my pace is tired , my face a bit 'more haggard ,emptiness inside me and where are you? I run always and do not know where I go I look back , I stumble and then I fall Slow walk among the tired souls alive but in a state of apparent death rips in the soul and on my clothes I have no tattoos, scars only and as the salt do on the wounds I burn at the memory of bad choices Iron bars are closed . echoes of voices deafen They say about you that you no longer have a tear they say about me that I’m free woman ... Monica Bergo
$5.00
4.61 €
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Piano solo
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Monica Bergo
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ALCHEMIST
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Moni Bergo
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SheetMusicPlus
Tell My Father
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Fl…
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 3 - Digital Download SKU: A0.1411273 By Sol3 Mio. By Frank Wildhorn and Jack Murphy. Arranged by Nicholas Garrett. Broadway,Musical/Show. Brass Band. 30 pages. Nicholas Garrett #993608. Published by Nicholas Garrett (A0.1411273). Arrangement of Tell My Father for Brass Band - featuring Euphonium, Trombone, and Eb Bass soloists.Tell My Father from the musical Civil War is a heartwrenching song sung by a soldier wishing to let his father know that he died a man.Lyrics:Tell my father that his sonDidn’t run or surrenderThat I bore his name with prideAs I tried to rememberYou are judged by what you doWhile passing throughAs I rest ‘neath fields of greenLet him lean on your shoulderTell him how I spent my youthSo the truth could grow olderTell my father, when you canI was a manTell him we will meet againWhere the angels learn to flyTell him we will meet as menFor with honour did I dieTell him I wore the blueProud and true, through the fireTell my father so he’ll knowI love him soTell him how I wore the blueJust the way that he taught meTell my father not to cryThen say goodbye
$25.00
23.05 €
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Sol3 Mio
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Tell My Father
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Nicholas Garrett
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SheetMusicPlus
Memorare: Remember, O Gracious Virgin
Piano, Voice
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.933476 Composed by Mark Klin…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.933476 Composed by Mark Kline. Christian,Gospel,Praise & Worship,Sacred. Score. 6 pages. Mark Kline #3120941. Published by Mark Kline (A0.933476). This musical setting of the Catholic Memorare prayer incorporates as much as possible the full traditional English language text. The omissions within, and changes of sequence among, the phrases of the original prose are due to poetic, metrical, and musical considerations. In other words, a faithful representation of the prayer’s meaning is substantially present in this setting. Historically, the invocation of Mary has very early origins among Christians, with the Memorare prayer having roots in the sub tuum prayer of the 3rd century Coptic Church. Memorare (Lyrics) [Refrain]Remember, O most gracious VirginNever was it known that anyone was left unaidedWho fled to thee for protection or sought thy intercession [Verse 1]Unto thee do we fly, standing with confidenceO Mother of the Word Incarnate [Verse 2]Sinful and sorrowful, we implore thy help,O Virgin of Virgins my Mother, [Verse 3]Mary, in thy Mercy hear and answer us,Despise not our petitions, [End]Memorare.
$4.95
4.56 €
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Piano, Voice
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Mark Kline
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Memorare: Remember, O Gracious Virgin
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Mark Kline
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SheetMusicPlus
Penitent Thief, The (for viola and piano)
Viola, Piano
Piano,Viola - Level 5 - Digital Download SKU: A0.1039822 Composed by David M. Sterr…
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Piano,Viola - Level 5 - Digital Download SKU: A0.1039822 Composed by David M. Sterrett. Classical,Contemporary,Sacred. Score and part. 49 pages. David Sterrett Music #644666. Published by David Sterrett Music (A0.1039822). This piece depicts the story of the Penitent Thief, one of the two other men who hung on a cross beside Jesus, as told in the Bible: One of the thieves who were hanged by Jesus was hurling abuse at him, saying, 'Are you not the Christ? Save yourself and us!' But the other answered, and rebuking him, said, 'Do you not even fear God, since you are under the same sentence of condemnation? We indeed are suffering justly, for we are receiving what we deserve for our deeds; but this man has done nothing wrong.' And he was saying, 'Jesus, remember me when you come into your kingdom!' And Jesus said to him, 'Truly I say to you, today you will be with me in Paradise.' (Luke 23:39-43) I initially set out to portray the scene from a narrative perspective. As I began composing and felt the story resonate more and more with my own spiritual experiences, I decided to shift the focus onto what I imagined the emotional and spiritual experiences of the Penitent Thief were during this brief but transformative interaction with Jesus right before death. While the passage does not describe his internal experience, I imagine that Jesus’ extension of kindness and mercy, along with the promise “Today you will be with me in Paradise,†profoundly impacted him. In composing this, I hoped to convey that transformative encounter. Ultimately, The Penitent Thief depicts an experience familiar to many Christians: that of a lost and broken soul discovering Jesus offers the truth and salvation they long for. To capture the element of dialog, I envisioned the Viola as the Penitent Thief and the Piano as Jesus. Each has a distinct theme/motif. On the cross, the Penitent Thief is consumed by shame, sorrow, and fear of death. His demeanor shifts between moments of quiet contemplation and visceral emotional outbursts. Facing imminent death, he yearns for redemption and truth. He looks at Jesus hanging next to him, blameless and holy. He feels admiration and praise and is overcome by penitence and humility. He calls out, half in desperation, half in worship: “Jesus, remember me when you come into your Kingdom…†Jesus, moved by his penitence and belief, responds with kindness and mercy, extending salvation: Today you will be with me in Paradise.†The Penitent Thief imagines Paradise and hopes for this to hold true. His hope becomes briefly overshadowed by lingering doubt and fear. Silence falls. Then, as the hour of death arrives, the man reaches out again and clings to Jesus’ promise, this time with more desperation. His soul suddenly becomes filled with joy, finding the fulfillment of longing, bound with Christ, and knowing that he will soon be at rest in Paradise. At peace, the man gazes upward, gives his final sputtering breath, and his soul departs this world.
$24.99
23.04 €
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Viola, Piano
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David M
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Penitent Thief, The
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David Sterrett Music
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SheetMusicPlus
Penitent Thief, The
Viola and Harp
Instrumental Duet Harp,Instrumental Duet,Viola - Level 5 - Digital Download SKU: A0.103…
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Instrumental Duet Harp,Instrumental Duet,Viola - Level 5 - Digital Download SKU: A0.1039821 Composed by David M. Sterrett. Classical,Contemporary,Sacred. Score and parts. 49 pages. David Sterrett Music #644665. Published by David Sterrett Music (A0.1039821). This piece depicts the story of the Penitent Thief, one of the two other men who hung on a cross beside Jesus, as told in the Bible: One of the thieves who were hanged by Jesus was hurling abuse at him, saying, 'Are you not the Christ? Save yourself and us!' But the other answered, and rebuking him, said, 'Do you not even fear God, since you are under the same sentence of condemnation? We indeed are suffering justly, for we are receiving what we deserve for our deeds; but this man has done nothing wrong.' And he was saying, 'Jesus, remember me when you come into your kingdom!' And Jesus said to him, 'Truly I say to you, today you will be with me in Paradise.' (Luke 23:39-43) I initially set out to portray the scene from a narrative perspective. As I began composing and felt the story resonate more and more with my own spiritual experiences, I decided to shift the focus onto what I imagined the emotional and spiritual experiences of the Penitent Thief were during this brief but transformative interaction with Jesus right before death. While the passage does not describe his internal experience, I imagine that Jesus’ extension of kindness and mercy, along with the promise “Today you will be with me in Paradise,†profoundly impacted him. In composing this, I hoped to convey that transformative encounter. Ultimately, The Penitent Thief depicts an experience familiar to many Christians: that of a lost and broken soul discovering Jesus offers the truth and salvation they long for. To capture the element of dialog, I envisioned the Viola as the Penitent Thief and the Harp as Jesus. Each has a distinct theme/motif. On the cross, the Penitent Thief is consumed by shame, sorrow, and fear of death. His demeanor shifts between moments of quiet contemplation and visceral emotional outbursts. Facing imminent death, he yearns for redemption and truth. He looks at Jesus hanging next to him, blameless and holy. He feels admiration and praise and is overcome by penitence and humility. He calls out, half in desperation, half in worship: “Jesus, remember me when you come into your Kingdom…†Jesus, moved by his penitence and belief, responds with kindness and mercy, extending salvation: Today you will be with me in Paradise.†The Penitent Thief imagines Paradise and hopes for this to hold true. His hope becomes briefly overshadowed by lingering doubt and fear. Silence falls. Then, as the hour of death arrives, the man reaches out again and clings to Jesus’ promise, this time with more desperation. His soul suddenly becomes filled with joy, finding the fulfillment of longing, bound with Christ, and knowing that he will soon be at rest in Paradise. At peace, the man gazes upward, gives his final sputtering breath, and his soul departs this world.
$24.99
23.04 €
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Viola and Harp
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David M
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Penitent Thief, The
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David Sterrett Music
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SheetMusicPlus
I May Not Be the One - an original hymn for SATB voices
Choral SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.701452 Composed by Kevin G…
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.701452 Composed by Kevin G. Pace, Mark R. Fotheringham. Christian,Praise & Worship,Sacred. Octavo. 2 pages. Kevin G. Pace #3125159. Published by Kevin G. Pace (A0.701452). An original hymn with text by Mark Fotheringham below.YouTube video: https://youtu.be/BGhqSeLVhqgI may not be the one to brighten your eye, I may not be the one whose heart makes you fly, I may not be the one who shows you His ways, But know I am one who for you prays. I may not be the one who gave everything To bring you back to God, our glorious King, I cannot save your soul or cleanse it or mend, But this I can do, forever be your friend. I may not be the one who knows all the truth. It's true I may have been a faltering youth, But now I know my God, who saved me from sin By sending His Son who let me in. So now I am the one who will testify, And now I am the one who'll reach out to try To bless a friend in need, just as I've been blessed, Until we in heaven find eternal rest.
$1.99
1.83 €
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Choral SATB
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sending His Son who let me in
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Kevin G
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I May Not Be the One - an original hymn for SATB voices
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Kevin G. Pace
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SheetMusicPlus
The Betrayal
Choral SATB
Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1012606 Composed by…
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Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1012606 Composed by Michelle Kraak. Easter,Praise & Worship,Sacred. 16 pages. Michelle Kraak #6102931. Published by Michelle Kraak (A0.1012606). The Betrayal is written for choir (soprano, alto, tenor, bass). It is a religious piece based on the passion of Christ. It has aspects of imitation, with a lot of independence in the parts. The vocal parts represent the voice of Jesus, the voices of those who crucified him, a narrator, and also briefly the voice of Peter, Jesus' disciple. The bass primarily sings the role of the people who called for his death, but as the piece continues others join in this role. I wrote some of the lyrics and also pulled some verses in from the Bible. I think this would be a great piece for Holy Week, perhaps on Good Friday or Maundy Thursday. the piece captures some of the intense emotions involved in the crucifixion and would make a great addition to Lenten music in the church. Lyrics:Why did you leave me?Why did you run?I absolved you of your sin. Jesus Christ must die for what he's done. I absolved you of your sin,I saved you from yourselves,I just wanted to lead you,Closer to God. Death! I wanted to give you new life. Three times you will deny me, Woman I do not know him! Jesus Christ must die for what he's done. Why did you leave me? Why did you run?I absolved you of your sin.I saved you from yourselves,I just wanted to lead you, Closer to God. Jesus I didn't know him.I don't know the man! Jesus Christ must die for what he's done. Peter struck him!Cut off his ear,Jesus touched him and healed him,Though the man had come for him. Jesus Christ must die for what he's done. Why should Jesus die for what he's done?Why did I forsake the Son of God?I'd have called for him to be crucified. We are no better,Then the past. Why did you forsake me,Why did you forsake me? Forgive them,For they do not know what they're doing. Forgive them,For they do not know what they're doing. Betrayed with a kiss. Surely he was the son of God.Surely he was the son of God.Surely he was the son of God.4 minutes 29 seconds6 minutes 29 secondsashevilletrumpet.comhttps://www.facebook.com/kraakmichellehttps://www.instagram.com/kraakmichelle/https://www.linkedin.com/in/michelle-kraak-71b0258a/
$16.95
15.63 €
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Choral SATB
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Michelle Kraak
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The Betrayal
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Michelle Kraak
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SheetMusicPlus
THE LAST MY FLOWER (THE WOLF AND THE WITCH)
Piano solo
Piano Solo - Digital Download SKU: A0.1012709 Composed by Monica Bergo. Contemporar…
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Piano Solo - Digital Download SKU: A0.1012709 Composed by Monica Bergo. Contemporary. Score. 13 pages. Moni Bergo #5742973. Published by Moni Bergo (A0.1012709). Music and song composed by meTHE LAST MY FLOWER (the wolf and the witch) I look at my last flower It loses its scentand I do not know what to do I protect you with warmthof this other story I have to tell creatures alone and desperate many scars heal a witch and a wolf do not know yet that their destinies are to merge and starts this magical storysweet as ancient fable in a forest with no place and no age out of touch and the time is stopped and does not move a breath and the heart, explodes and skip a beat and look you recognize like not having never lost and the wolf that is injured a white rose in red has turned He is bleeding along with drops of pain his red eyes burning with love and the witch instead hides because she isn't beautiful and it is not important nobody in the world has never belonged and a caress he never touched she care and caresses the soul he looks at her and his anger dominates and one year only lasts a moment lost in eternity and the wolf tells tales and the witch makes magic potions and exchange promises useless that the night guard and she will dance will dance naked and the wolf with his heart on his sleevelying by the fire that lights up, so free unobstructed and are reflected in the magic lake and do not feel that cold shiver... not last, do not you feel it too?cold around us Abracadabra !! from caterpillar to butterfly Alakazam !! and I too am beautiful do not you wonder how and why I started to talk to me snow fallsbut we are in August and there is nothing that you find a place this my music speaks for it self this is the strangest tale that is I stop here It will end well I can not tell the end of a love that is not written yet I stop here It will end well in a vacuum and the absence these days my silence and inconstancy in your feeling sthe flower dies already go wolf go stop thinking about her from your pack you will need to return and then runs away witch will if you want to transform changes role an actress who artand you will have new flowers day step into the dark caverns of regret Mix them with potions and transform everything into tears like a cat in the night I try the food in the trashno sun, no light no god here that help me body and spirit dentedas a glass stuckinside my poor heart the memory of a love He never really lived so alive in the mind is my animal instinct that makes me ache while another dream diesthe witch in the lake you slidethe water lapping against the planin his eyes the wolf that is now already far a fairy tale real or invented in between my hidden truth all my stories strange and weird over this skin are now tattooed I watc.
$5.00
4.61 €
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Piano solo
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Monica Bergo
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THE LAST MY FLOWER
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Moni Bergo
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SheetMusicPlus
Thank God It's Christmas
String Orchestra
String Orchestra - Level 3 - Digital Download SKU: A0.850386 By Queen. By Brian May…
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String Orchestra - Level 3 - Digital Download SKU: A0.850386 By Queen. By Brian May and Roger Taylor. Arranged by Tim Crooks. Rock. Score and parts. 24 pages. STR:UK String Arrangements #6591441. Published by STR:UK String Arrangements (A0.850386). Thank God It’s Christmas, by Queen, arranged by Tim Crooks for String Orchestra (ABRSM Beginner - grade 5). Technical challenges include 12/8 time signature and hemiolas meaning the main parts are best suited to ABRSM Grade 4+ standard players. The arrangement can be mostly played in first position, reaching briefly to a top G in first violin only. The arrangement also includes an easier part for Violin & Viola suitable for grade 1-2 level. A piano part is included but is not needed for performance. Multiple part copies can be printed from this download. Please do not share or distribute. The string quartet parts can be performed alone and are also available as a separate download: H0.1122165-SC000004914 About the arranger Tim Crooks trained as a violinist and violist, working professionally in Manchester (UK) for many years. He was a founding member of the Manchester String Quartet and scored many arrangements for the group's recordings. Tim now orchestrates and conducts, working with orchestras including Manchester Camerata, Royal Liverpool Philharmonic, RTÉ Concert Orchestra and the Philharmonia. STR:UK STRINGS - Education String Music, made in the UK We'd love to hear your feedback: strukstrings@gmail.com Subscribe to our social media to get news of all new releases: https://www.facebook.com/Strukstrings-102251248505787 https://twitter.com/strukstrings STR:UK Strings - Education String Music
$24.99
23.04 €
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String Orchestra
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Queen
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Thank God It's Christmas
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STR:UK String Arrangements
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SheetMusicPlus
Davy Jones
Organ
Instrumental Solo,Pipe Organ - Level 3 - Digital Download SKU: A0.1315325 Composed …
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Instrumental Solo,Pipe Organ - Level 3 - Digital Download SKU: A0.1315325 Composed by Hans Zimmer. Arranged by Anna Lapwood. 21st Century,Classical,Contemporary,Film/TV. Individual part. 8 pages. Anna Lapwood #904071. Published by Anna Lapwood (A0.1315325). Over the past couple of years I have written a number of film music transcriptions on and for the organ of the Royal Albert Hall in London. While the transcriptions are written with this organ in mind, often calling for specific colours such as the bass drum, carillons or tubular bells, they are adaptable on a number of different instruments and I’ve loved tweaking them in order to play them on organs all across the world. I hope you enjoy playing them as much as I’ve enjoyed writing them! When I was a teenager, my dad and brother would often choose the films we’d watch. When they chose Pirates of the Caribbean I was a bit sceptical at first because I thought it might be too scary, but I quickly fell in love with the film and its soundtrack – it became my favourite film series and I ended up listening to the soundtrack almost every day on the walk to and from school. In the films, the character of Davy Jones plays an iconic organ on his ship, the Flying Dutchman – I think it’s one of the most well-known organ references in contemporary cinema, and so it is one of my most requested pieces. I I also love the fact that Hans Zimmer includes a little nod to Bach’s Toccata in D minor, another piece which sits at the top of my request list. In the film, the start and end of this piece is played by a musical locket, perfectly replicated by the Celeste stop on the organ, although if a Celeste stop isn’t available then a soft 8’ flute would do the job!  - Anna Lapwood.
$5.99
5.52 €
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Organ
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Hans Zimmer
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Davy Jones
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Anna Lapwood
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SheetMusicPlus
Songs for a Rainbow People
A collection of hymns and songs by this talented New Zealand composer. The selections are …
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A collection of hymns and songs by this talented New Zealand composer. The selections are light-hearted, creative and uplifting. Notes on the hymns are included
Song List: Across a Dark, Autumnal Sky I Saw a Flock of Wild Geese Fly (Honking Hymn) As Everyone Knows, or Thinks They Know from the Book of Genesis (The Tale of a Snake) A Stable Lamp Is Lighted Every Hair upon Your Head Fancy Noah Sailing in the Ark (Rainbow People) For Everyone Born a Place a the Table Gentle God, the Candle Flickers God in the Darkness, God Beyond Our Knowing God of the Bible, God in the Gospel(Fresh as the Morning) God Rest Us, Rest that Part of Us which Is Tired Great and Deep the Spirit's Purpose Here to Celebrate God's Loving How Much Am I Worth? I'm a Fishbowl Christian I'm Gonna Take Another Step Along the Way (Treksong) It All Depends on Where I'm Going Listen to the Voices, Listen to the Voices of the Earth Lord, I Wait for the Tide to Turn Lord Jesus, Look on This We Do Merry Christmas Rag Nothing Is Lost on the Breath of God Now as We Go, Kind Spirit Keep Us O Spring in the Desert, O Shelter from Heat (Prayer for the Presence) Snap Us Out of It, Lord (The Ho-Hum Hymn) Sometimes the Boundless Beauty of the World Strong Word of God, Spoken to All The Grace of God on You Distill The Lord God Walked in Paradise (Callings) There's Straw in the Manger (The Folly of Love Carol) These Hills Where the Hawk Flies Lonely This Tree We Plant in Loving Memory When I Was a Child I Thought as a Child When Our Lives Know Sudden Shadow
$9.95
9.17 €
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Songs for a Rainbow People
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SheetMusicPlus
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.11 €
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Piano and Orchestra
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
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