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The Story Of Reuben Clamzo & His Strange Daughter
Choral TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…
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Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
3.68 €
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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
Chording to the Dance Masters Full Score Version with chords Book 1 - Score Only
Level 3 - Digital Download SKU: A0.1133711 By Various. By Anonymous, Giorgio Mainer…
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Level 3 - Digital Download SKU: A0.1133711 By Various. By Anonymous, Giorgio Mainerio, Michael Praetorius, Pierre Attaignant, Pierre Certon, Pierre Phalese, and Tielman Susato. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733808. Published by Wold Meridian (A0.1133711). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances. You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes. Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on. Working with this publication For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.
$12.00
11.06 €
#
Various
#
Chording to the Dance Masters Full Score Version with chords Book 1 - Score Only
#
Wold Meridian
#
SheetMusicPlus
Chording to the Dance Masters Full Score Version with chords Book 2 - Score Only
Level 3 - Digital Download SKU: A0.1133721 By Various. By Anonymous, Claude Gervais…
(+)
Level 3 - Digital Download SKU: A0.1133721 By Various. By Anonymous, Claude Gervaise, Claudin de Sermisy, Erasmus Widmann, Giorgio Mainerio, Henry VIII, Juan Del Encina, Michael Praetorius, Pierre Attaignant, Pierre Phalese, Thoinot Arbeau, Tielman Susato, and William Cornysh. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733832. Published by Wold Meridian (A0.1133721). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances.  You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes. Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on. Working with this publication For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.
$12.00
11.06 €
#
Various
#
Chording to the Dance Masters Full Score Version with chords Book 2 - Score Only
#
Wold Meridian
#
SheetMusicPlus
MY FATHER’S FAVORITE HYMNS Piano/Vocal Arrangements-full book
Jazz combo
Jazz Combo - Level 3 - Digital Download SKU: A0.877827 Composed by Deborah Johnson,…
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Jazz Combo - Level 3 - Digital Download SKU: A0.877827 Composed by Deborah Johnson, Various Public Domain. Arranged by DJWorks Music. A Cappella,Christian,Contemporary,Easter,Sacred. Score and parts. 99 pages. Deborah Johnson #4309241. Published by Deborah Johnson (A0.877827). Full book of twelve contemporary arrangements of timeless favorites, including two new hymns by Deborah Johnson. These are piano-based instrumentals and vocals with vocal and orchestral accompaniment. This 99-page book (including cover and table of contents) also includes a beautiful title page for each song with a brief history and lyrics for the two new hymns. The piano transcriptions are completely written out, including the chords and vocal parts. Several have secondary piano parts included. Also available are individual song downloads and some of the MP3 accompaniment tracks.Album notes: My Father’s Favorite Hymns is dedicated to my mom and dad. I have memories of being on the front row of church as a little girl, singing as loud as I could. The album is a tribute to my parents who raised my sisters and I to love God, our country and our families. As many musicians do, I got my start in the church, playing the piano for the Children’s church at the age of 10. It didn’t take long before I started sitting at a 9’ Steinway opposite an incredible organist who changed keys as often as a woman changes her clothes. I fell in love with the simplicity of the hymns and with the many fun arrangements that were possible. The lyrics of some of these hymns have been ingrained in my soul and have brought me comfort, deepened my faith, and have taught me that when all is said and done, the Truth and Faithfulness of God are what will carry me through.If you’re searching for: Christian music, inspirational music or church hymns, consider My Father’s Favorite Hymns. Songs include: Tell Me the Old Old Story; Just a Closer Walk with Thee; Great is Thy Faithfulness; Immortal Invisible; Amazing Grace/It is Well; Your Truth it Stands; Glory to His Name; Stand Up for Jesus/Leaning on the Everlasting Arms; In the Garden; Were You There when they Crucified my Lord? (acapella); What a Friend we Have in Jesus; You are Faithful, You are Lord. Separate song downloads also available, where you can hear and preview each selection.From the album up for a 2012 GRAMMY Award®: My Father’s Favorite Hymns, available on Amazon (https://www.amazon.com/music/player/albums/B008O86FQI) or on the website (https://DJWorksMusic.com/products) by Deborah Johnson. You can hear selections of each song on either of those sites, as well as purchase the album. Video playlist at: http://youtu.be/srvbPkI4eKM?list=PLE49F87AC9C76AE49. There is also a beautiful spiral-bound devotional guide available with the amazing stories and life principles gained from these timeless classics, available on Amazon as well as a spiral-bound print version of this music book. Check out http://www.djworksmusic.com/fathershymns/For more information about Deborah, her albums, books and products, visit https://DJWorksMusic.com https://GoalsForYourLife.com or https://DeborahJohnsonSpeaker.com
$28.50
26.27 €
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Jazz combo
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Deborah Johnson, Various Public Domain
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Just a Closer Walk with Thee
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MY FATHER’S FAVORITE HYMNS Piano/Vocal Arrangements-full book
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Deborah Johnson
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SheetMusicPlus
Two Scenes from The Rubáiyát of Omar Khayyám (Trio for Bb Clarinet, Violin and Piano)
Violin, Clarinet, Piano (trio)
B-Flat Clarinet,Piano,Violin - Level 5 - Digital Download SKU: A0.1208741 Composed …
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B-Flat Clarinet,Piano,Violin - Level 5 - Digital Download SKU: A0.1208741 Composed by Adam Lenhart. Chamber,Classical,Contemporary,Contest,Festival. 33 pages. Adam Lenhart #806841. Published by Adam Lenhart (A0.1208741). Introduction to The Rubáiyát of Omar KhayyámThe Rubaiyat of Omar Khayyam is a Persian poetry collection first put together in 1460 in Shiraz.  It consists of quatrains, four-line poems, with a set of unconventional themes.  The poetry is irreligious and questions the afterlife and God's providence.  It shows keen awareness of the shortness of life and the finality of death. It advises therefore that every fleeting moment of every day should be savored, with wine, lovers and song. The combination of a serious philosophy of life and a carefree attitude has made the poetry popular for centuries.  In 1859, Edward FitzGerald brought out a loose English translation that took the world by storm.  It became the most beloved and widely known poem in the English language for decades until its popularity finally faded in the late twentieth century. Although they were attributed to the great mathematician and astronomer, Omar Khayyam (d. 1131), the poems were by many anonymous hands, and he was just a frame author, akin to Scheherezade in the Arabian Nights.- Dr. Juan Cole, Richard P. Mitchell Collegiate Professor of History at the University of MichiganAbout the CompositionTwo Scenes from The Rubáiyát of Omar Khayyám explores and embodies two of the main themes that carry throughout the quatrains of the poem collection. In FitzGerald's translation, the quatrains follow a day to night cycle. The two movements reflect this by starting off with an abrupt wake up section and ending the piece with a nocturne.  The first movement, Wine, celebrates the camaraderie, joy and chaos that comes through the physical joy of being with friends. The clarinet, violin and piano interact in a conversational way, talking, laughing, and insulting one another in their own independent lines.The second movement is entitled Intimacy and explores the emotional joy of connecting with one another. The movement is set in a waltz style dance and draws influence from Chopin, Liszt and other romantic era composers. This is juxtaposed by youthful and energetic phrases so that the piece embodies all forms of love: young love, years of marriage and even friendship. Each movement has a sense of urgency and density which is present in the rubá'iyát as well, expressing to the reader that our time on Earth is so short and to make the most of each day.---------------------------Adam Lenhart (b. 2002) is a University of Michigan student of music theory, composition, voice and organ from Ottawa Lake, Michigan. As a theorist, his areas of study vary widely, including 18th century counterpoint, the early American Sacred Harp tradition, and impressionism. As a composer, his music draws inspiration from nature, mathematics and poetry. In 2020 he was awarded the Michigan Music Education Association’s Young Composers of Michigan award, as well as first prize in the University of Toledo Young Composers competition. Lenhart has also participated in numerous ensembles across Michigan, including the MYAF All-State Choir, Tecumseh Pops Orchestra, University of Michigan Men’s Glee Club and the SMTD University Choir. He thoroughly enjoys collaboration with other composers, performers, poets and visual artists. Some of his recent projects include collaborations with individuals from the University of Michigan Chamber Music, History, and Poetry departments.
$14.99
13.82 €
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Violin, Clarinet, Piano (trio)
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Adam Lenhart
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Two Scenes from The Rubáiyát of Omar Khayyám
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Adam Lenhart
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SheetMusicPlus
Irish National Anthem (Unofficial) for String Orchestra
String Orchestra
String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Ke…
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String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Keith Terrett. 20th Century, European, Patriotic. Score, Set of Parts. 10 pages. Published by Music for all Occasions
Londonderry Air arranged for String Orchestra.<br> <br> A big band version of the song is used as the theme for The Danny Thomas Show (a.k.a. Make Room For Daddy).<br> <br> "Danny Boy" was used to represent Northern Ireland at the start of the London 2012 Olympics opening ceremony, sung by a choir of children on the Giant’s Causeway.<br> <br> On November 25, 2014, the Vancouver Canucks used the song in honor of the recently deceased Pat Quinn, who played and worked in many executive capacities for the team.<br> <br> There are various theories as to the true meaning of "Danny Boy". Some listeners have interpreted the song to be a message from a parent to a son going off to war or leaving as part of the Irish diaspora.<br> <br> The 1918 version of the sheet music included alternative lyrics ("Eily Dear"), with the instructions that "when sung by a man, the words in italic should be used; the song then becomes "Eily Dear", so that "Danny Boy" is only to be sung by a lady". In spite of this, it is unclear whether this was Weatherly’s intent.<br> <br> Why the name Londonderry Air? Londonderry and Derry refer to the same place, a city in the north of Ireland, and also to the surrounding county. Supposedly the city of Derry was founded by St. Colmcille, although archaeological evidence shows that people were living there thousands of years earlier. There is an excellent museum in the city, which is worth a visit if you want to find out more. The name of the city was actually "Doire", corrupted to "Derry" by people who can’t pronounce Irish. It thought to derive from an Irish root meaning "oak tree".<br> <br> Moving quickly along in history, about a millenium later the government of England was having a difficult time colonizing Ireland because of the fierce and warlike clans living there, especially in the north of the country, Ulster. The monarchs of England, almost all of whom were notorious cheapskates, were continually looking about for ingenious ways to conquer places without actually having to put up the money themselves, or run the risk of unpopularity if they lost. In the case of Ireland, some of these schemes of the "Brish gummit" (as it is termed nowadays in Ulster) are still producing unfortunate long-term consequences.<br> <br> In 1608, King James I gave the city of Derry to the City of London corporation. I guess the deal could be summed up by saying that if the City of London could figure out a way to chase all the inhabitants out of Derry, they would be allowed to keep the loot, minus a percentage for the King of course. If they lost, well too bad. In celebration of this historic agreement, the name of Derry was officially changed to Londonderry. (For further information, check out the Northern Ireland Tourist Board’s History of Derry.)<br> <br> The linguistic outcome of all this today is that, if you think that King James’s deal with the City of London was a good idea, you call both the city and county "Londonderry". If you do, you are probably a supporter of the Unionist movement that seeks to keep Ulster a part of the United Kingdom. If you think it was a bad idea, you call both "Derry", and you are probably a supporter of the Irish Nationalist cause. Or you might just be someone who thinks it’s confusing for kings to be going around changing the names of places all the time for no good reason.<br> <br> You can find plenty of discussion about the political side of the question elsewhere, but here let’s look at the musical side. We have an air, collected in county Derry/Londonderry, and it doesn’t have a title. What do we call it?<br> <br> If you were a proper Victorian, there’s no way you were going to call it the Londonderry Air, much less the Derry Air, because of the improper sentiments that these titles might suggest. My parents tell me that in their youth in Australia, it was usually called the Air from County Derry. (This would, I suppose, support Winston Churchill’s theory that Australia was inhabited by "convicts and Irishmen".)<br> <br> My mother also sends the following information, referring to an arrangement of the tune by the Australian composer Percy Grainger:<br> <br> Just another note about Danny Boy, that I grew up in Australia believing to be the Air from County Derry. We were looking through some LP’s last night (back to vinyl yet!) and found a Mercury Wing Classical Favorites stereo LP SRW18060, COUNTRY GARDENS and other favorites by Percy Grainger {played by} Eastman-Rochester Pops, Frederick Fennell, conducting. The cover notes included the following: "Irish Tune from County Derry was harmonised in memory of Irish childhood friends in Australia." Considered by many to be Grainger’s masterpiece of harmonization, the tune was collected many years ago by Miss Jane Ross of New Town, Limavady, Ireland. Grainger has set it for many instrumental combinations. So there’s another variant on the name for it. It doesn’t say who wrote the notes, but the bits in quotes for each of the works on the record are Grainger’s original comments.<br> <br> The references to Londonderry Air that I’ve seen don’t go back any earlier than the late 1930s. For example, the Glenn Miller Orchestra recorded Danny Boy (Londonderry Air) in February 1940. Bing Crosby’s version was recorded in July 1941 (reference). (So many different things I could check up on!) Londonderry was an important American naval base during WWII, but the US hadn’t come into the war in 1940.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com<br> <br> Contact Publisher Related Scores
$8.99
8.29 €
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String Orchestra
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trad
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Irish National Anthem
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Music for all Occasions
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SheetMusicPlus
Have Yourself A Merry Little Christmas from MEET ME IN ST. LOUIS
Violin, Cello (duet)
Cello,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.520948 By Colbi…
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Cello,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.520948 By Colbie Caillat. By Hugh Martin and Ralph Blane. Arranged by Sherry Lewis. Jazz. 11 pages. Sherry Lewis Publishing #3233229. Published by Sherry Lewis Publishing (A0.520948). HAVE YOURSELF A MERRY LITTLE CHRISTMAS String Duo, Intermediate Level for violin and celloScore: YesParts: 4 pagesTime: 3'35ABOUT THE DEMO- I CUT OUT A FEW MEASURES FROM THE START TO GET TO THE CHORUS IN THIS DEMOMY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts however I also offer individual versions for one, two and three parts that are more detailed for these ensembles.Please visit https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer.If you can’t find a title then contact me through www.baysbest.com/smp-arrangeme/ and I’ll give you the link back to Sheet Music Plus’s listing.VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument.PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music.LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work.EXCELLENT for corporate events, weddings, social gatherings and recitals.APPROPRIATE for students and schools.CHURCH REPERTOIRE I’m always adding more titles. Sherry Lewis is a professional arranger and musician residing in Northern California. Thank you for your purchase!
$4.99
4.6 €
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Violin, Cello (duet)
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Colbie Caillat
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https://www
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Have Yourself A Merry Little Christmas from MEET ME IN ST. LOUIS
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Sherry Lewis Publishing
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SheetMusicPlus
We Must Learn to Walk Together
Piano, Vocal and Guitar
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waite…
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1044425 By Lisa Waites. By Lisa Waites. Arranged by Lisa Waites. Folk,Holiday,Multicultural,Praise & Worship,Sacred,World. Score. 2 pages. Servant Song Music and Ministry #649158. Published by Servant Song Music and Ministry (A0.1044425). I wrote this reconciliation hymn back in 2016, when elders from the Blood Tribe, Metis, Piikani, and Siksika nations of Southern Alberta led the Reconciliation Week events at Medicine Hat College, in Medicine Hat, Alberta. They invited me to write and teach this hymn as part of the sessions at MHC, where I was (then) the ecumenical Chaplain. It has been an honour to participate in this annual tradition of indigenous leaders sharing their distinctive cultural practices, traditions, and values with the public in Medicine Hat (and the surrounding communities) for a decade, now. During the session I was asked to assist with, the Elders were sharing the Seven Grandfathers' Teachings, and so I included these core values into the lyrics of the hymn. The work in Medicine Hat started with expressions of lament and support from a group of local churches and the Medicine Hat College Chaplaincy program while the Truth and Reconciliation Commission was crossing the country. We quickly realized that many non-indigenous Canadians genuinely wanted to learn more about their First Nations, Metis, and Inuit neighbours. Seeing an urgent need for greater awareness about the intergenerational damage that was done by the Indian Residential School system here in Canada, and also identifying these Reconciliation events as a way to decrease racist stereotypes and assumptions about indigenous peoples, we decided to continue offering an annual reconciliation session, which grew, year by year. A decade later, I'm delighted to have seen deeper, healthier relationships being built between indigenous and non-indigenous people. Musically, this hymn loosely imitates the style of the French Canadian Voyageurs, the folk melodies of the 18th and 19th centuries. The lyrics incorporate the Seven Grandfathers' Teachings. This core ethical framework has many different versions, but many First Nations communities have adopted these teachings in some form. (I've heard Elders say that Respect must come first, because it is the foundation that we build on, but for this particular group at Medicine Hat College, Humility was first on the list). I have Metis ancestry myself, and as an adult, I have researched the long-hidden genealogical and cultural treasures of my family tree. Whether you are an indigenous person looking to support other indigenous Christian composers, or whether you are a non-indigenous person who is trying to broaden the repertoire of your congregation, We Must Learn to Walk Together is an upbeat, hope-filled hymn that sings about reconciliation as if it is not only possible in the distant future - but also achievable today, using the concrete steps suggested by the lyrics. The indigenous wisdom of the Seven Grandfathers' Teachings lines up beautifully with the teachings of Christ. Musically, this hymn is highly accessible for congregational singing; the range is moderate and the rhythms provide musical interest without becoming overly complex; to hear the guitar version and melody line of the hymn being played and sung by the composer, please go to the following YouTube link: https://youtu.be/3DpkFCLxgEs. The musical format of the hymn alternates between the chorus and three verses. The piece takes roughly 3:30 to perform. This hymn has been transcribed in the key of C Major, so it is as easy as possible for church accompanists to play and for congregations to sing; guitarists are invited to play in the key of A Major and simply capo 3. Guitar chords are included. I hope and pray that this hymn for reconciliation will help you, your congregation, and the wider community to think about, pray for, and enact the calls to action of the Canadian Truth and Reconciliation Commission in new and deeper ways this year.
$3.99
3.68 €
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Piano, Vocal and Guitar
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Lisa Waites
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We Must Learn to Walk Together
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Servant Song Music and Ministry
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SheetMusicPlus
Enjoy the Recorder
Treble (Alto) Recorder, Piano
Treble recorder and piano - Digital Download SKU: S9.Q50454 A Comprehensive Tuto…
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Treble recorder and piano - Digital Download SKU: S9.Q50454 A Comprehensive Tutor Book for Groups, Individuals, or Self-learning. This edition: teacher's book. Downloadable, Teacher's edition. Op. Vol. 2. Schott Music - Digital #Q50454. Published by Schott Music - Digital (S9.Q50454). English.The best way to learn any instrument is to have lessons from a good, experienced teacher. Although, happily, the number of such teachers is constantly growing, the recorder is still frequently taught by enthusiastic but inexperienced teachers and many players start by teaching themselves. This series of books sets out to help learners of all ages in all three situations. Experienced teachers, who may choose to disregard much of the text as personal demonstration is always clearer than the written word, will find exercises and fine tunes a-plenty to support their own mathod at each stage. The less experienced willbenefit from many valuable teaching hints culled from long experience and may rely on the books to lead to a sound playing technique and a mastery of simple notation. Those learning by themseves - and I started in this way - are urged to work carefully and systematically through the books, taking plenty of time to assimilate each point before moving on. For them, without the personal model provided by a live teacher, it is vitally important to listen as often as possible to fine players, in person or on record, so that they have in their mind's ear a clear notion of the kind of sound they would like to produce. But however they start, I can only wish that all who use these books will derive as much pleasure and musical satisfaction and gain as many lasting and valued friendships as I have through this most subtle, delightful and sociable of instruments. (Brian Bonsor) “...this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken“ (Oliver James, Contact Magazine) These two tutors, with accompanying teacher's books, are for newcomers to the instrument who are beginning on the treble and so assume no previous knowledge either of the instrument or of musical notation.
$23.99
22.12 €
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Treble (Alto) Recorder, Piano
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Enjoy the Recorder
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Schott Music - Digital
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SheetMusicPlus
Enjoy the Recorder
Treble (Alto) Recorder, Piano
Treble recorder and piano - Digital Download SKU: S9.Q54256 Eine umfassende Schu…
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Treble recorder and piano - Digital Download SKU: S9.Q54256 Eine umfassende Schule für Gruppen-, Einzel- und Selbstunterricht. This edition: teacher's book. Downloadable, Teacher's edition. Op. Vol. 1. Schott Music - Digital #Q54256. Published by Schott Music - Digital (S9.Q54256). English.The best way to learn any instrument is to have lessons from a good, experienced teacher. Although, happily, the number of such teachers is constantly growing, the recorder is still frequently taught by enthusiastic but inexperienced teachers and many players start by teaching themselves. This series of books sets out to help learners of all ages in all three situations. Experienced teachers, who may choose to disregard much of the text as personal demonstration is always clearer than the written word, will find exercises and fine tunes a-plenty to support their own mathod at each stage. The less experienced willbenefit from many valuable teaching hints culled from long experience and may rely on the books to lead to a sound playing technique and a mastery of simple notation. Those learning by themseves - and I started in this way - are urged to work carefully and systematically through the books, taking plenty of time to assimilate each point before moving on. For them, without the personal model provided by a live teacher, it is vitally important to listen as often as possible to fine players, in person or on record, so that they have in their mind's ear a clear notion of the kind of sound they would like to produce. But however they start, I can only wish that all who use these books will derive as much pleasure and musical satisfaction and gain as many lasting and valued friendships as I have through this most subtle, delightful and sociable of instruments. (Brian Bonsor) “...this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken“ (Oliver James, Contact Magazine) These two tutors, with accompanying teacher's books, are for newcomers to the instrument who are beginning on the treble and so assume no previous knowledge either of the instrument or of musical notation.
$23.99
22.12 €
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Treble (Alto) Recorder, Piano
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Enjoy the Recorder
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Schott Music - Digital
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SheetMusicPlus
Beyond The Sea
Choral SATB
Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1308788 Comp…
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Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1308788 Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. 11 pages. Tobi Crawford #898034. Published by Tobi Crawford (A0.1308788). *Purchase 10 copies to perform this piece with your ensemble of any size*Purchase the instrumental pack (bass and drum part) here: https://www.sheetmusicplus.com/en/product/beyond-the-sea-instrumental-pack-only-22605052.htmlThis arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll. One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea†over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them. Somewhere beyond the seaShe’s there watching for me…It’s far beyond the starsIt’s near beyond the moon And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,†and the song ends with: “and never again I’ll go sailing.†It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan. Performance Suggestions: The improvisation solo in the middle should be free of any traditional “scat syllables†and should be more of a lament. Listen to singers like Aubrey Johnson improvise on ballads for inspiration. An idea for that improv section might be to have a male singer start the improv, then a female singer joins (as if together in heaven) then they sing letter F together (warning: will cause tears…). All solo sections do not have to be sung as written – soloists can take liberties with the melody as the spirit moves.
$10.00
9.22 €
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Choral SATB
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Charles Tenet
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Beyond The Sea
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Tobi Crawford
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SheetMusicPlus
Beyond The Sea *INSTRUMENTAL PACK ONLY*
Jazz Ensemble
Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1308790 Composed b…
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Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1308790 Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. Set of parts. 10 pages. Tobi Crawford #898036. Published by Tobi Crawford (A0.1308790). *THIS ACCOMPANIES THE VOCAL ARRANGEMENT* This arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll. One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea†over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them. Somewhere beyond the seaShe’s there watching for me…It’s far beyond the starsIt’s near beyond the moon And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,†and the song ends with: “and never again I’ll go sailing.†It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan. Performance Suggestions: The improvisation solo in the middle should be free of any traditional “scat syllables†and should be more of a lament. Listen to singers like Aubrey Johnson improvise on ballads for inspiration. An idea for that improv section might be to have a male singer start the improv, then a female singer joins (as if together in heaven) then they sing letter F together (warning: will cause tears…). All solo sections do not have to be sung as written – soloists can take liberties with the melody as the spirit moves.
$30.00
27.66 €
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Jazz Ensemble
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Charles Tenet
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Beyond The Sea *INSTRUMENTAL PACK ONLY*
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Tobi Crawford
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SheetMusicPlus
The Glastry Pearl. Tone Poem Elegy For My Mum.
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1315331 Composed by Geraldine (…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1315331 Composed by Geraldine (Denny) Green. 21st Century,Classical,Contemporary,Romantic Period. 468 pages. Geraldine (Denny) Green at Oakmountmusic #904077. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1315331). Duration : Approx. 30 minutesInstrumentationFlutes 1&2Piccolo/Flute 3Oboes 1&2Cor AnglaisClarinets 1&2 in BflatBass Clarinet in Bflat (To Low C)Bassoons 1&2Horns 1 – 4 in FTrumpets 1&2 in BflatTenor Trombones 1&2Bass TromboneTubaTimpani – 4Bass Drum, Sleigh Bells, Temple Blocks, Maracas, Cymbals – Crash and Suspended Snare Drum,Tambourine Triangle Tubular Bell (only 1 B bell required) Glockenspeil XylophoneCelestaHarpViolins 1&2ViolasCellosDouble BassesAbout The WorkOn Tuesday March 24th 2020, one day into the first UK national Lockdown at the start of the worldwide Covid-19 Pandemic, my Mum died! She was 91 and had been poorly with many different illnesses for the previous 6 months, so we knew it was coming. But the timing and unfathomable sadness of her death, together with the start of a worldwide pandemic, little did I know it at the time, was to bring forth from me a tsunami of music the likes of which I hadn’t written for many years. A set of six solo studies for various members of the clarinet family came first, written between March 20th and April 20th. As I wrote them they were orchestrating themselves in my head and forming something else as well. That “something else†grew and grew, as the Six Studies intertwined themselves around each other and expanded together, joining forces with two brand new themes to form what soon was to become an immense orchestral work. The title was easy. Glastry is a tiny district in the middle of the Co.Down countryside of Northern Ireland, where my Mum was born and brought up. And Pearl was her name. Her full name was actually Margaret Mary Ward (eventually to become Denny when she married my Dad, Colum Denny, from Belfast), but everyone always called her Pearl. The nickname was bestowed upon her just after she was born on February 28th 1929 and stuck ever since.The Glastry Pearl is a tribute to my Mum and the great and mighty person she was to me and all who knew her. It employs at least one theme or motif from each of the Six Studies For Various Solo Clarinets and uses them throughout the work in the from of Leitmotifs. It was only when the work was nearing completion that I began to wonder how to describe it. Freddy Naftel, a good composer friend of mine, suggested that Tone Poem was a fitting description and I immediately agreed. The music itself is completely tonal and highly Romantic, yet also peppered with exciting contemporary disonance. I believe it to be a good, and hopefully fun, challenge to symphony orchestras, both professional and high standard amateur alike. It offers everything from the the somber opening to the hilarious and wildly energetic central Waltz, to the glorious soaring final section, so plenty of variety to please many palates.
$200.00
184.38 €
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Orchestra
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Geraldine
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The Glastry Pearl. Tone Poem Elegy For My Mum.
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Geraldine
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SheetMusicPlus
Chording to the Dance Masters 44 Renaissance Dance Consort pieces Omnibus Full Score version
Level 2 - Digital Download SKU: A0.1411172 Composed by Anonymous, Claude Gervaise, …
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Level 2 - Digital Download SKU: A0.1411172 Composed by Anonymous, Claude Gervaise, Claudin de Sermisy, Erasmus Widmann, Giorgio Mainerio, Henry VIII, John Dowland, Juan Del Encina, Michael Praetorius, Pierre Attaignant, Pierre Certon, Pierre Phalese, Thoinot Arbeau, and Tielman Susato. Arranged by Alastair Lodge. Chamber,Early Music,Renaissance. 93 pages. Wold Meridian #993504. Published by Wold Meridian (A0.1411172). A selection of 44 Dance Consort pieces from publications dating from 1500 to 1620 in three, four or five part scores and fully chorded with lyricsRenaissance Dance music provides some of the most simple yet satisfying pieces to play in ensemble on a wide range of instruments.  They are suitable for recorders, modern strings, woodwinds or brass, or where available, reproductions of 16th century instruments, such as crumhorns, viols or shawms to name but a few.The 44 pieces that first  appeared in the publication Chording to the Dance Masters, are  presented in full score and with separate parts for each of the lines.  What is more, a number of the pieces have been re-edited to include their lyrics, should you wish to perform them vocally.  They represent some of the best known secular pieces of the Renaissance repertoire.What makes this Wold Meridian edition of these pieces different  from others is that they have been created to make performing them as accessible as possible.  Chords have been provided so that the piece can be played with just the melody line and a simple accompaniment.  It also means that keyboard players or fretted strings can join in with ensembles, giving extra sparkle to performances.Each piece can be heard in a video on YouTube with illustrations and historical background information.  Even more helpful for players who are less experienced in reading harmony lines, there is a YouTube video link featuring each part, where it is heard initially on its own with the chords, on repeats with the melody line added and finally together with all the parts in the whole ensemble.  If you have not had the pleasure of playing in consort with other people, you could not do better than start with these Wold Meridian editions.
$18.00
16.59 €
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Anonymous, Claude Gervaise, Claudin de Sermisy, Erasmus Widmann, Giorgio Mainerio, Henry VIII, John Dowland, Juan Del Encina, Michael Praetorius, Pierre Attaignant, Pierre Certon, Pierre Phalese, Thoinot Arbeau, and Tielman Susato
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Chording to the Dance Masters 44 Renaissance Dance Consort pieces Omnibus Full Score version
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Wold Meridian
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SheetMusicPlus
The Complete Instrumentalist Book One
Level 2 - Digital Download SKU: A0.1315388 By DaCapo Primary Music. By Jane Cutler …
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Level 2 - Digital Download SKU: A0.1315388 By DaCapo Primary Music. By Jane Cutler and Tracey Mathias. Classical,Contemporary,Instructional,Multicultural,Traditional,World. Educational Method. 94 pages. DaCapo Primary Music #904114. Published by DaCapo Primary Music (A0.1315388). This Book Contains 68 songs for the instrumentalist.This new edition of the DaCapo Complete Instrumentalist contains the same material as when first published in 2000, with one big change - many of the songs have been re-worded by our writer in residence, Tracey Mathias, to make them more engaging for very young children.Singing is the foundation of all musical skills.The book concentrates on the building of musicianship, is not clef specific and is therefore suitable for ANY instrument. It has been written on a reduced stave of 1, 2 or 3 lines in order to develop the skill of hearing the music from the page. The songs are classified by their note range, using solfa symbols and handsigns to identify relative pitches.The collection starts with the  so  mi interval and moves progressively to cover the complete major pentatonic scale. These intervals are easier to pitch accurately and you have the added advantage of working in canon. You may find another section more appropriate for the early stages of your instrument. A violinist or cellist may find the  so  do section better as a starting point for example, whilst  la  so might be more comfortable on a fife or recorder.Each section starts with a list of ideas for very simple activities used to teach a song and establish it in the pupil's mind. There follows a variety of more complex and creative ideas which will enhance their musicianship. The activities are at three levels and we suggest that first you learn lots of the songs and then return to them later, tackling some of the more challenging suggestions.Whilst every attempt has been made to research the source material, if you think we have not credited an original song please let us know.We hope that you enjoy becoming a Complete Instrumentalist. Jane CutlerYou can find more DaCapo pieces for young instrumentalists at DaCapo Music Shop
$7.99
7.37 €
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DaCapo Primary Music
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The Complete Instrumentalist Book One
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DaCapo Primary Music
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SheetMusicPlus
Two Short Anthems
Choral SATB
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.851263 Composed by Tim Att…
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.851263 Composed by Tim Attride. Christian,Christmas,Sacred. Octavo. 7 pages. Tim Attride #12549. Published by Tim Attride (A0.851263). Cantate Domino uses words from the start of Psalm 96. Sung cheerfully - mostly in 6/8, but with occasional 5/8 bars - the music reflects the joy of the Psalmist. Gloria in Excelsis joyously proclaims the angels' words at Christmas, firstly on the organ alone, then with the organ accompanying the same theme in the voices ending on an added 2nd chord. Now fully re-set in Musescore. NB, following the title page are two sample pages - the first page of each anthem. To save paper, print page 1, then 4-7. (To save even more paper, omit the first page as well.).
$2.99
2.76 €
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Choral SATB
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Tim Attride
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Two Short Anthems
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Tim Attride
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SheetMusicPlus
Enjoy the Recorder
Treble (Alto) Recorder
Treble recorder - Digital Download SKU: S9.Q50448 A comprehensive method for gro…
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Treble recorder - Digital Download SKU: S9.Q50448 A comprehensive method for group, individual and self tuition. This edition: student's book. Downloadable, Student's edition. Op. Vol. 2. Schott Music - Digital #Q50448. Published by Schott Music - Digital (S9.Q50448). English.The best way to learn any instrument is to have lessons from a good, experienced teacher. Although, happily, the number of such teachers is constantly growing, the recorder is still frequently taught by enthusiastic but inexperienced teachers and many players start by teaching themselves. This series of books sets out to help learners of all ages in all three situations. Experienced teachers, who may choose to disregard much of the text as personal demonstration is always clearer than the written word, will find exercises and fine tunes a-plenty to support their own method at each stage. The less experienced will benefit from many valuable teaching hints culled from long experience and may rely on the books to lead to a sound playing technique and a mastery of simple notation. Those learning by themselves - and I started in this way - are urged to work carefully and systematically through the books, taking plenty of time to assimilate each point before moving on. For them, without the personal model provided by a live teacher, it is vitally important to listen as often as possible to fine players, in person or on record, so that they have in their mind's ear a clear notion of the kind of sound they would like to produce. But however they start, I can only wish that all who use these books will derive as much pleasure and musical satisfaction and gain as many lasting and valued friendships as I have through this most subtle, delightful and sociable of instruments. (Brian Bonsor) “...this work is likely to become a standard work very quickly and is to be recommended to all schools where recorder studies are undertaken“ (Oliver James, Contact Magazine) These two tutors, with accompanying teacher's books, are for newcomers to the instrument who are beginning on the treble and so assume no previous knowledge either of the instrument or of musical notation.
$11.99
11.05 €
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Treble (Alto) Recorder
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Enjoy the Recorder
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Schott Music - Digital
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SheetMusicPlus
March of the Kings
Choral 3-part
Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.1120365 By Philip Le Bas. B…
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Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.1120365 By Philip Le Bas. By J-B Lully / G Bizet. Arranged by Philip Le Bas. Christmas,Praise & Worship,Religious,Sacred,Traditional. Octavo. 8 pages. Philip Le Bas #721616. Published by Philip Le Bas (A0.1120365). A new arrangement by Philip Le Bas of a thirteenth century French Christmas carol from Provence harmonized by Jean-Baptiste Lully (1632-87, attrib.) and, more famously, by Georges Bizet (1838-75, in his L'Arlesienne Suite of 1872.) In France the melody is still tightly associated with Christmas, and French audiences start singing their own Christmas words whenever they hear the melody (the arranger has heard it himself!) The English translation used here is adapted from a variety of sources. The three kings (or more precisely the magi from St Matthew's gospel) are seen marching towards Bethlehem with their fantastic golden wealth and grandeur. But why are they going to see a low-born baby and why do they worship this child who will die on a cross? The organ sets the scene from the beginning with its marching accompaniment, and the first verse is sung in unison by all three parts. The second begins with a canon, as used by Bizet, and then breaks into harmony. The first section of the third verse is much quieter and legato, sung by the sopranos and altos, using wonderful chromatic harmonies based on another section from Bizet's suite. The lyrics express wonder at the beautiful music heard from the camp of the kings. The second section, sung in differentiated unison then begins to wonder why the kings stoop so low to a baby in a manger. Finally the fourth verse, sung in full harmony, returns to the marching accompaniment and reiterates the amazement of meeting these kings with their mysterious mission. The carol is aimed at parish choirs with limited resources, but a good organist. The melody is well-known, much of it is in unison, and other sections are relatively easy to sing. Care should however should be taken to sing the dotted rhythms accurately - this is what gives the carol its marching character.
$1.99
1.83 €
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Choral 3-part
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Philip Le Bas
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March of the Kings
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Philip Le Bas
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SheetMusicPlus
Pocket Piano Proficiency: the quickest way to understand and learn the skills you need
Piano solo
Piano Solo - Digital Download SKU: A0.1296630 Composed by Dr. Deborah Rambo Sinn, A…
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Piano Solo - Digital Download SKU: A0.1296630 Composed by Dr. Deborah Rambo Sinn, Author. Traditional. Score. 276 pages. Deborah Rambo Sinn at The Underground Conservatory #886807. Published by Deborah Rambo Sinn at The Underground Conservatory (A0.1296630). Finally, a piano skills book that you don't have to lug around! This 260+ page book fits on your phone or tablet and can be opened in any PDF reader, like Adobe Acrobat or forScore. Pocket Piano Proficiency: a revolutionary way to learn the skills you need offers basic piano skills in a new way. Author and veteran piano instructor Deborah Rambo Sinn wanted to find a solution for getting students to learn these solidly and efficiently–along with finding a way to combine this with developing excellent aural skills. Ultimately, she sought a way to quickly make these skills relevant to understanding larger concepts of music theory. Traditionally, it takes a long time of learning individual skills before a student can grasp how they all work together. Pocket Piano Proficiency flips this model, introducing tasks in chunks of like material. The circle of fifths appears from the first pages, demonstrating connections between keys from the start. The book’s pedagogical organization moves students from the easiest to more complex skills, allowing them to scaffold successfully from one chapter to the next. The eBook format allows for a new way of learning these skills that a black and white printed book does not afford. Each page contains several layers of helpful material that can be accessed by zooming in and out. Because only one level of information can be accessed at a time, students need to assimilate information from around the page to successfully complete each task (see video.) Additionally, the use of color cues for tasks further organizes each chapter. As an example, red is used for the simplest keys or most common concepts. Additionally, the use of color cues for tasks further organizes each chapter. As an example, red is used for the simplest keys or most common concepts.
$21.99
20.27 €
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Piano solo
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Dr
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Pocket Piano Proficiency: the quickest way to understand and learn the skills you need
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Deborah Rambo Sinn at The Underground Conservatory
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SheetMusicPlus
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet i…
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750706 Composed by Silvano A. Pagliuca-Mena. Jazz. Score and Parts. 46 pages. Soundnotation #4251133750706. Published by Soundnotation (2S.4251133750706). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
12.86 €
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Silvano A
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Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Soundnotation
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SheetMusicPlus
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet i…
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - Digital Download SKU: 2S.4251133750690 Composed by Silvano A. Pagliuca-Mena. Jazz. Score. 29 pages. Soundnotation #4251133750690. Published by Soundnotation (2S.4251133750690). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95
12.86 €
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Silvano A
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Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Soundnotation
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SheetMusicPlus
Where Eagles Dare (Theme) - Score Only
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.1402356 Composed by Ron Goodwin…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1402356 Composed by Ron Goodwin. Arranged by Chris Siddall. Film/TV. 33 pages. Chris Siddall Music Publishing #985569. Published by Chris Siddall Music Publishing (A0.1402356). While his scores for both 633 Squadron (1963) and Operation Crossbow (1965) had boasted patriotic, major-key themes celebrating the heroics of the protagonists, composer Ron Goodwin took a different approach for Where Eagles Dare, generating his main theme for the picture out of the initial notes of an ascending minor scale. Rather than celebrate the heroics of the screen characters, the title music embodies the single-minded ambition of the protagonists to infiltrate the mountain fortress of Schloss Adler and complete their mission, no matter what the costs. The composer recalled in a 1994 interview that some of this approach came from the filmâ??s director, Brian Hutton. For instance, he wanted music at the beginning of the film but he also wanted to hear the airplane engines approaching from the distance, which is actually why he started off with just the side drums playing quietly and then building up and getting louder, so that you could actually hear the sound of the airplane before the orchestra comes in. After the snare drum and the â??Aâ? section of the main title comes a melodically related fugal section that, the composer told Randall D. Larson in 1984, was an idea that arose from the â??concept of people following each other around and dodging away from each other...[which] gave me the idea of writing a sort of fugue-style theme...and then I used that in various ways for all the sort of creeping and following and chasing that was going on throughout the film.â?Created from the original manuscript, this release offers a rare opportunity to study film music in its authentic, original orchestration and arrangement. An opportunity not to be missed!
$14.99
13.82 €
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Orchestra
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Ron Goodwin
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Where Eagles Dare
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Chris Siddall Music Publishing
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SheetMusicPlus
Air On The G String (BWV 1068) / Fugue c minor (BWV 847)
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1103957 Composed by Johann S…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1103957 Composed by Johann Sebastian Bach. Arranged by Uwe Roessler Rössler Rassler. 20th Century,Baroque,Contemporary,Contest,Festival,Jazz. Score and parts. 32 pages. Uwe Roessler #707241. Published by Uwe Roessler (A0.1103957). This arrangement consists of two parts which can be played either seperately, or consecutively: the famous “Air On The G String†(BWV 1068, as in the 1871 arrangement by August Wilhemj), inspired by Jaques Loussier´s “Play Bachâ€- version, and the fugue c-minor from the Well-Tempered Piano (BWV 847), inspired by the magnificent Turtle Island String Quartet´s incomparable swinging rendition (hence the video link). There are several options of playing this arrangement: “Air†has two parts which can be repeated – thus, violin1 and cello can distribute the theme. Of course, these repetitions are optional. If you want to play the Air only – there is an optional ending in bar 22. If you want to play only the fugue – start from bar 23 (intro), or from bar 30 (theme). Or you choose to play Air and fugue consecutively. The arrangement works great either ways ;-). Piano voice is written out. However, there are also chord symbols for your own voicings. Minimal instrumentation: piano trio (violin1, cello, piano). Comes with full score and all individual parts. Optional voices for violin 2 and bass, clarinet Bb, guitar, and drums included. Professional sheet material. I´ve listed quite a lot of songs, so far: Movie Themes and classic Pop songs for this kind of instrumentation, and others. Browse ;-) Have fun with my arrangements!
$30.00
27.66 €
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Chamber Orchestra
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Johann Sebastian Bach
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Air On The G String
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Uwe Roessler
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SheetMusicPlus
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