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You've selected:
I Get Weak
Sheetmusic to print
27 sheet music found
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I Get Weak
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Voice,Drums,Flute,Guitar,Piano,Synth…
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Voice,Drums,Flute,Guitar,Piano,Synthesizer,Tambourine,Tenor Saxophone,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.934800 Composed by Diane Eve Warren. Arranged by Thomas Ruggieri. Contemporary. Score and parts. 23 pages. Thomas Ruggieri #6214329. Published by Thomas Ruggieri (A0.934800). I've always loved this song! I knew that one day, I'd have one of my high school jazz/rock groups do it. A great showcase for a talented female vocalist, this will be a crowd-pleaser for your electric pep band or jazz group. Original key. .
$20.00
18.19 €
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Diane Eve Warren
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I Get Weak
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Thomas Ruggieri
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SheetMusicPlus
Four Forces (Second movement) II. Weak Forces
Percussion Ensemble
Percussion Ensemble - Level 5 - Digital Download SKU: A0.962405 Composed by Salvado…
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Percussion Ensemble - Level 5 - Digital Download SKU: A0.962405 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 255 pages. Salvador Rojo-Gamon #5801921. Published by Salvador Rojo-Gamon (A0.962405). Four ForcesReviewsScherzohttps://scherzo.es/badajoz-vanguardias-lugarenas/Periodico Extremadurahttps://www.elperiodicoextremadura.com/noticias/badajoz/fuerzas_1214372.html NotesThis work was commissioned by Extremadura Orchestra for Percussion and Chamber orchestra.It has two movements. The first one has been done for mallets and the second one was built on a base of a drums work (GEA).The duration of those movements is 26 minutes, being around 11 minutes the first and 15 minutes the second one.The chamber music is formed by:Woodwind quintet (Flute, Oboe, Clarinet, Horn & Bassoon)Brasswind quintet (Trumpet 1, Trumpet 2, Horn, Trombone & Tuba)Strings orchestraThree firsts violinsThree seconds violinsThree violasTwo cellosFor the second movement is high recommendable to enlarge the strings, a good number of musician could be doubling.I. Strong ForcesThe work is inspired by the four fundamental forces of nature. These forces explain any phenomena which can be produced in the universe.Throughout all composition, it is latent the mathematic construction based in the series Fibonacci. In the first of the movements, Fibonacci's series is present in the notes' sequence that forms the series of 16 sounds and it is going to be present throughout the whole work. This series is taking form along the movement and it is getting melody and harmony.Although it is far away from the sonata form, as we know it in its period of highest glory, it takes elements of it and updates to our days. In this movement, we can find sonata form elements as the exposition, development, transitions or coda.The central part of the first movement becomes in the slow movement, being more intimate and lyrical, free of the serials ties although it uses resources before cited -now called common practice-.The movement finish with a short re-exposition that concludes with the virtuosic of the soloist doubling the series and adding more tension until conforming the series in its full whole.II. Weak ForcesIt is the most tribal of both movements. Its structure is more complex and in it, we also can find clear reminiscences to the sonata form.We can divide the movement into two big blocks. The first one is formed for the introduction and sections one and two.IntroducciónIt is based in one ostinato of three notes where the accent is changing provoking unsymmetric, this ostinato represents the nucleus of our existence. The piccolo and the trombone introduce us to the human element representing the two elements that form the development of the whole movement.The two elements of thematics are taken from the series, the first one is easily recognizable because it appears in his primary form.First section & cadenzaIn this movement, the rhythm, the melody, and the harmony are based on the sequence of Fibonacci. As the theme ostinato of the soloist as the melody is formed under the rhythm of 1, 2, 3 and 5. This section leads us to the second section with a clear mode of cadence. In the cadenza, the elements of the rhythm are varied freely with an accompaniment of the Spring Drum.DevelopmentIt is formed by two Rondo sub-sections in which the solo part has been created through the mirror technique.Both sections have the next form:Intro-A-B-A-B-(B(minor)+A)Intro-A-B-A-B-(B(major)+A)First section & CodaThe movement ends with the repetition of the first section and the final code.
$150.00
136.44 €
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Percussion Ensemble
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Salvador Rojo Gamón
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Four Forces
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Salvador Rojo-Gamon
#
SheetMusicPlus
Four Forces (First movement) I. Strong Forces
Percussion Ensemble
Percussion Ensemble - Level 5 - Digital Download SKU: A0.962406 Composed by Salvado…
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Percussion Ensemble - Level 5 - Digital Download SKU: A0.962406 Composed by Salvador Rojo Gamón. Concert,Contemporary,Instructional,Standards. Score and parts. 173 pages. Salvador Rojo-Gamon #5801913. Published by Salvador Rojo-Gamon (A0.962406). Four ForcesReviewsScherzohttps://scherzo.es/badajoz-vanguardias-lugarenas/Periodico Extremadurahttps://www.elperiodicoextremadura.com/noticias/badajoz/fuerzas_1214372.html NotesThis work was commissioned by Extremadura Orchestra for Percussion and Chamber orchestra.It has two movements. The first one has been done for mallets and the second one was built on a base of a drums work (GEA).The duration of those movements is 26 minutes, being around 11 minutes the first and 15 minutes the second one.The chamber music is formed by:Woodwind quintet (Flute, Oboe, Clarinet, Horn & Bassoon)Brasswind quintet (Trumpet 1, Trumpet 2, Horn, Trombone & Tuba)Strings orchestraThree firsts violinsThree seconds violinsThree violasTwo cellosFor the second movement is high recommendable to enlarge the strings, a good number of musician could be doubling.I. Strong ForcesThe work is inspired by the four fundamental forces of nature. These forces explain any phenomena which can be produced in the universe.Throughout all composition, it is latent the mathematic construction based in the series Fibonacci. In the first of the movements, Fibonacci's series is present in the notes' sequence that forms the series of 16 sounds and it is going to be present throughout the whole work. This series is taking form along the movement and it is getting melody and harmony.Although it is far away from the sonata form, as we know it in its period of highest glory, it takes elements of it and updates to our days. In this movement, we can find sonata form elements as the exposition, development, transitions or coda.The central part of the first movement becomes in the slow movement, being more intimate and lyrical, free of the serials ties although it uses resources before cited -now called common practice-.The movement finish with a short re-exposition that concludes with the virtuosic of the soloist doubling the series and adding more tension until conforming the series in its full whole.II. Weak ForcesIt is the most tribal of both movements. Its structure is more complex and in it, we also can find clear reminiscences to the sonata form.We can divide the movement into two big blocks. The first one is formed for the introduction and sections one and two.IntroducciónIt is based in one ostinato of three notes where the accent is changing provoking unsymmetric, this ostinato represents the nucleus of our existence. The piccolo and the trombone introduce us to the human element representing the two elements that form the development of the whole movement.The two elements of thematics are taken from the series, the first one is easily recognizable because it appears in his primary form.First section & cadenzaIn this movement, the rhythm, the melody, and the harmony are based on the sequence of Fibonacci. As the theme ostinato of the soloist as the melody is formed under the rhythm of 1, 2, 3 and 5. This section leads us to the second section with a clear mode of cadence. In the cadenza, the elements of the rhythm are varied freely with an accompaniment of the Spring Drum.DevelopmentIt is formed by two Rondo sub-sections in which the solo part has been created through the mirror technique.Both sections have the next form:Intro-A-B-A-B-(B(minor)+A)Intro-A-B-A-B-(B(major)+A)First section & CodaThe movement ends with the repetition of the first section and the final code.
$300.00
272.88 €
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Percussion Ensemble
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Salvador Rojo Gamón
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Four Forces
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Salvador Rojo-Gamon
#
SheetMusicPlus
I Get Weak by Belinda Carlisle - Piano/Vocal/Guitar
Piano, Vocal and Guitar
Performed by: Belinda Carlisle: I Get Weak Digital Sheetmusic plus an interactive, downloa…
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Performed by: Belinda Carlisle: I Get Weak Digital Sheetmusic plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal/Guitar, instruments: Voice;Piano;Guitar; 6 pages -- Adult Contemporary~~Pop Rock~~Soft Rock
$5.50
5 €
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Piano, Vocal and Guitar
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Belinda Carlisle
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Piano/Vocal/Guitar
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Musicnotes
I Get Weak by Belinda Carlisle - Easy Piano
Easy Piano
Performed by: Belinda Carlisle: I Get Weak Digital Sheetmusic plus an interactive, downloa…
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Performed by: Belinda Carlisle: I Get Weak Digital Sheetmusic plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal/Chords, instruments: Piano;Voice; 5 pages -- Adult Contemporary~~New Wave~~Pop Rock~~Soft Rock
$4.25
3.87 €
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Easy Piano
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Belinda Carlisle
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Easy Piano
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Musicnotes
Test Drive
Organ
Instrumental Solo,Pipe Organ - Level 4 - Digital Download SKU: A0.1315319 By John P…
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Instrumental Solo,Pipe Organ - Level 4 - Digital Download SKU: A0.1315319 By John Powell. By John Powell. Arranged by Anna Lapwood. 21st Century,Classical,Contemporary,Film/TV. Individual part. 10 pages. Anna Lapwood #904065. Published by Anna Lapwood (A0.1315319). 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! One of the soundtracks that I get asked to perform most regularly is Test Drive by John Powell. This is one of the earlier transcriptions I wrote, and I often use it as a piece to illustrate the difference between different organs. It’s quite useful to have one piece to use as a comparison point, so I post little videos of this wherever I’m playing to demonstrate how radically different the same piece of music can sound depending on the kind of instrument. For me, this piece feels like an instant serotonin boost. There is a great crescendo where you get to take the organ from relatively quiet to earth-shatteringly loud over the course of about 30 seconds, and I always say that playing that part feels a bit like flying a dragon! - Anna Lapwood
$5.99
5.45 €
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Organ
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John Powell
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Test Drive
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Anna Lapwood
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SheetMusicPlus
Chevalier De Sangreal
Organ
Instrumental Solo,Pipe Organ - Level 4 - Digital Download SKU: A0.1315329 Composed …
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Instrumental Solo,Pipe Organ - Level 4 - Digital Download SKU: A0.1315329 Composed by Hans Zimmer. Arranged by Anna Lapwood. 21st Century,Classical,Contemporary,Film/TV. Individual part. 10 pages. Anna Lapwood #904075. Published by Anna Lapwood (A0.1315329). 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! We all have those pieces of music that have a strong, almost formative, childhood memory associated with them, and Chevaliers De Sangreal is one of those pieces for me. I vividly remember watching the film for the first time with my family, hearing the music and feeling an incredible emotional response to it. I wanted to work out how the music worked, so I sat in bed with a torch and manuscript paper, writing out the harmony, and trying to understand how Hans Zimmer achieved such emotion through repetition and orchestration. Every time I play this I get reminded of the goosebumps I felt hearing it for the first time.  - Anna Lapwood.
$5.99
5.45 €
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Organ
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Hans Zimmer
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Chevalier De Sangreal
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Anna Lapwood
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SheetMusicPlus
Savin' Jeremiah - SATB Choir
Choral SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1129659 Composed by Kevin …
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1129659 Composed by Kevin G. Pace (ASCAP), Kathryn W. Hales. 20th Century,Blues,Jazz,Religious,Spiritual. Octavo. 14 pages. Kevin G. Pace #730069. Published by Kevin G. Pace (A0.1129659). A fun, jazzy, energetic choral composition telling the story of Ebed-Melech and how he saved the prophet Jeremiah. Music by Kevin G. Pace. Text by Kathryn W. Hales. Text: The Good Book says that Moses Was buried by the hand of God; And those bitten by fiery serpents Were healed by lookin’ at a rod. Elijah was taken up to heaven By a chariot of fire, But the prophet Jeremiah Was cast into a pit of mire. “Can’t you hear me, Lord?†Jeremiah is a’cryin’, “Wilt Thou deliver me? For I am surely dyin’.†The Lord touched the heart On one Ethiopian And says to Ebed-Melech, “Go and save my son.†That black man, he did hearken And went straight up to the king, “What you’ve done to Jeremiah Is a very wicked thing.†“Can’t you see his misery? Can’t you hear him cryin’? Let me deliver him, O King, For he is surely dyin’.†Then Zedekiah repented, Said, “Go get Jeremiah Out of that old dungeon Out of the pit of mire. Take thirty strong men with you Do not delay or wait, Bring the prophet up again Before it is too late.†Ebed went to the pit, Called down into the dark, “I’s a comin’ to save you, Now, oh man, take heart. The king has relented, But before we start, Put old rags beneath your arms, So the ropes won’t leave a mark. Poor Jeremiah was so weak, He’d almost lost all hope, The men did gently lift him up ‘Cause he couldn’t climb the rope. He was kept in prison, But now he had some food, Until the Babylonians came To seize the multitude. ‘Twas an Ethiopian that saved him, A servant to Judah’s King, Blessed be the name of Ebed-Melek For doin’ such brave things. The Lord uses many people From every tribe and race To be an instrument in His hands, An implement of His grace. “Repent all House of Judah,†Jeremiah kept on a’cryin’, “Turn unto the Lord again, Otherwise you’all be dyin’. His words come down through the years To the people of today, “Repent and turn back to the Lord, And walk His chosen Way.â€.
$1.99
1.81 €
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Choral SATB
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a chariot of fire, But the prophet Jeremiah Was cast into a pit of mire
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Kevin G
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Savin' Jeremiah - SATB Choir
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Kevin G. Pace
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SheetMusicPlus
Patapan - Carol for easy guitar quartet
Guitar Ensemble Guitar - Level 2 - Digital Download SKU: A0.797756 Composed by Bern…
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Guitar Ensemble Guitar - Level 2 - Digital Download SKU: A0.797756 Composed by Bernard de la Monnoye. Arranged by Derek Hasted. Baroque,Christmas. Score and parts. 17 pages. Derek Hasted #4836609. Published by Derek Hasted (A0.797756). PATAPAN - traditional carol - 4 GUITARS/LARGE ENSEMBLE For Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.There are TWO ARRANGEMENTS in this one edition.Derek Hasted writes This Burgundian Carol, first published in 1720, usually has four verses in the French version and three in the English. This arrangement has three verses, all in slightly different styles.The melody and the onomatopoeia in the lyrics are together meant to symbolise the fife (“Ture-lure-luâ€) and the drum (“Pata-pata-panâ€).In both arrangements Guitar One has melody, and it fits nicely in a mix of IV and V position. There is no fingering, because your ensemble might want to choose between two different approaches...A less experienced ensemble might prefer to venture up the neck just to reach for the A and B notes, and return to the first position as soon as possible...A more experienced group might want to stay up the neck to get a more rounded tone throughout. Depending on your choice of fingering, slurs might be possible to improve the flow.There are two versions of the lower parts. In the first arrangement, in “SATB†style, Guitar 4 plays the bass; Guitar 3 provides, in the three verses, percussion, a choral countermelody, and finally a Hurdy-Gurdy style drone; Guitar provides a countermelody.In the second arrangement, the roles rotate at the end of each verse, so that all the accompanying players have three very different verses to play. Guitar 1 stays with the tune, because in a mixed ability ensemble, moving the tune about tends to highlight any weaknesses. This arrangement highlights the strengths!Percussion (the X-headed notes) works well if you tap the guitar near the bridge to get a deep bass drum.At the end, the brave amongst you can shout “Patapan†to bring the piece to a surprise conclusion...I hope you enjoy this piece!
$2.99
2.72 €
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Bernard de la Monnoye
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Patapan - Carol for easy guitar quartet
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Derek Hasted
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SheetMusicPlus
"The Dog Had..." Variations
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: A0.1290458 Composed by Daniel Burwasser. 21st Century,Chamber,Contemporary,Romantic Period. 35 pages. Head and Stem #881172. Published by Head and Stem (A0.1290458). BACKSTORY ON “The Dog Had…†Variations The origin of “The Dog Had…†Variations†stems from a frantic voicemail received from the composer’s mother-in-law many years ago while on a visit exclaiming that our dog at the time, Pepper, a chocolate-brown and white springer spaniel, “HAD†an accident of explosive proportions on their basement rug and that we needed to “GET HOME†and deal with it immediately. At first the family was taken aback by the phone message, but ultimately it became a source of hilarity and shortly afterward, the composer’s wife created a rhyme from the message and a tune immediately sprung from that. This tune simply became something our family sung together periodically over many year’s time for amusement until now when the composer came up with the idea to set it to variations for string quartet. In this work, the tune is first heard in simple fashion in its entirety in the viola. Fragments of the tune follow in various guises. For example, the rhythm of the words “GET HOME†as well as “I’VE HAD IT†are prominent thematic ideas used in the piece. There are also a couple of moments where the music sounds weak and demented, but also places where it sounds like a domestic quarrel and the theme is further broken down into fragments. For more information, go to: https://www.danielburwasser.com/To contact the composer directly, go to: danielburwasser9@gmail.comYoutube channel: https://www.youtube.com/@danielburwasser60.
$20.00
18.19 €
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String Quartet: 2 violins, viola, cello
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Daniel Burwasser
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"The Dog Had..." Variations
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Head and Stem
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SheetMusicPlus
Legacy for Chamber Orchestra
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1453498 Composed by Sy Brand…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.1453498 Composed by Sy Brandon. 21st Century,Contest,Festival. 235 pages. Sy Brandon #1032727. Published by Sy Brandon (A0.1453498). Legacy is a three-movement composition for chamber orchestra that makes social commentary on the issue of global warming. It was commission in 2007 by the Washington Sinfonietta, Rufus Jones, conductor and rewritten for chamber orchestra in 2023. I. Conflicts - This movement begins with a cry from native cultures admonishing our neglect of the environment. The cry is interspersed with debate regarding the seriousness of global warming (woodwinds). The debate grows stronger as the cries grow weaker. The debate isquieted by a measure of repeated chords that could be the words, stop it! stop it now!” A weak cry in the English Horn brings the introduction to a close. An Allegro section follows with a rhythmic and primitive sounding section representing the underdeveloped nations that are destroying the rain forests for economic gain. This material evolves into a more harmonic and contrapuntal section representing industrialized nations reluctant to change, also for economic reasons. Things quiet down as the music takes the listener to another part of the globe, East Asia. Conflict is again present in this section. The music returns to a varied restatement of the industrialized nations music before traveling to India for a section influenced by Raga. This section builds in dissonance until we hear the repeated stop it now chords from the introduction. A brief reprise of the cries brings the movement to a close. II. Consequences - This movement evokes a somber mood that is reflective of living in a climate of extremes. The movement is in arch form as it begins and ends with open harmony reflective of barren lands that once were fertile. The middle section serves as a climax expressing the harshness of the climate. Colleen McCullough's book, A Creed for the Third Millennium was a source of inspiration for this movement. III. Sacrifice and Compromise - The movement begins with a strong section that suggests progress. It is followed by a quieter and intense section that alternates lyrical lines over a staccato ostinato creating a sense of urgency. The opening section returns and is followed by a development of the ostinato section. This section is symbolic of how ideas need to be adapted in order for progress to be made. The opening section returns once more before leading into the concluding section where there is coming together of the instruments on a long lyrical line representing more and more people working together for change. The movement ends with a sense of triumph over adversity. Score prints on legal size paper and parts on letter.
$40.00
36.38 €
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Sy Brandon
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Legacy for Chamber Orchestra
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Sy Brandon
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SheetMusicPlus
Legacy for Clarinet, Violin, Cello, and Piano
Small Ensemble Cello,Clarinet,Piano,Violin - Level 4 - Digital Download SKU: A0.755023
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Small Ensemble Cello,Clarinet,Piano,Violin - Level 4 - Digital Download SKU: A0.755023 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 94 pages. Sy Brandon #3244205. Published by Sy Brandon (A0.755023). Legacy is a three movement composition that makes social commentary on the issue of global warming. It was commission and premiered by the Washington Sinfonietta, Rufus Jones, conductor, and later transcribed by the composer for quartet for the chamber music group, enhaké. I. Conflicts - This movement begins with a cry from native cultures admonishing our neglect of the environment. The cry is interspersed with debate regarding the seriousness of global warming. The debate grows stronger as the cries grow weaker. The debate is quieted by a measure of repeated chords that could be the words, stop it! stop it now!. A weak cry in the clarinet brings the introduction to a close. An Allegro section follows with a rhythmic and primitive sounding section representing the underdeveloped nations that are destroying the rain forests for economic gain. This material evolves into a more harmonic and contrapuntal section representing industrialized nations reluctant to change, also for economic reasons. Things quiet down as the music takes the listener to another part of the globe, East Asia. Conflict is again present in this section. The music returns to a varied restatement of the industrialized nations music before traveling to India for a section influenced by Raga. This section builds in dissonance until we hear the repeated stop it now chords from the introduction. A brief reprise of the cries bring the movement to a close. II. Consequences - This movement evokes a somber mood that is reflective of living in a climate of extremes. The movement is in arch form as it begins and ends with open harmony reflective of barren lands that once were fertile. The middle section serves as a climax expressive the harshness of the climate. Colleen McCollough’s book, A Creed for the Third Millennium was a source of inspiration for this movement. III. Sacrifice and Compromise - The movement begins with a strong section that suggests progress. It is followed by a quieter and intense section that alternates lyrical lines over a staccato ostinato that creates a sense of urgency. The opening section returns and is followed by a development of the ostinato section. This section is symbolic of how ideas need to be adapted in order for progress to be made. The opening section returns once more before leading into the concluding section where there is coming together of the instruments on a long lyrical line representing more and more people working together for change. The movement ends with a sense of triumph over adversity. Legacy has been recorded by enhaké on the Emeritus Recordings CD Legacy.
$14.99
13.63 €
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Sy Brandon
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Legacy for Clarinet, Violin, Cello, and Piano
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Sy Brandon
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SheetMusicPlus
Legacy
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.755203 Composed by Sy Brandon. …
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Full Orchestra - Level 4 - Digital Download SKU: A0.755203 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 253 pages. Sy Brandon #3415579. Published by Sy Brandon (A0.755203). Legacy is a three movement composition for chamber orchestra that makes social commentary on the issue of global warming. It was commission and premiered by the Washington Sinfonietta, Rufus Jones, conductor. I. Conflicts - This movement begins with a cry from native cultures admonishing our neglect of the environment. The cry is interspersed with debate regarding the seriousness of global warming (woodwinds). The debate grows stronger as the cries grow weaker. The debate is quieted by a measure of repeated chords that could be the words, stop it! stop it now!. A weak cry in the English Horn brings the introduction to a close. An Allegro section follows with a rhythmic and primitive sounding section representing the underdeveloped nations that are destroying the rain forests for economic gain. This material evolves into a more harmonic and contrapuntal section representing industrialized nations reluctant to change, also for economic reasons. Things quiet down as the music takes the listener to another part of the globe, East Asia. Conflict is again present in this section. The music returns to a varied restatement of the industrialized nations music before traveling to India for a section influenced by Raga. This section builds in dissonance until we hear the repeated stop it now chords from the introduction. A brief reprise of the cries bring the movement to a close. II. Consequences - This movement evokes a somber mood that is reflective of living in a climate of extremes. The movement is in arch form as it begins and ends with open harmony reflective of barren lands that once were fertile. The middle section serves as a climax expressive the harshness of the climate. Colleen McCollough’s book, A Creed for the Third Millennium was a source of inspiration for this movement. III. Sacrifice and Compromise - The movement begins with a strong section that suggests progress. It is followed by a quieter and intense section that alternates lyrical lines over a staccato ostinato that creates a sense of urgency. The opening section returns and is followed by a development of the ostinato section. This section is symbolic of how ideas need to be adapted in order for progress to be made. The opening section returns once more before leading into the concluding section where there is coming together of the instruments on a long lyrical line representing more and more people working together for change. The movement ends with a sense of triumph over adversity.The score prints on legal size paper and the parts on letter.
$49.95
45.43 €
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Orchestra
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Sy Brandon
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Legacy
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Sy Brandon
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SheetMusicPlus
Now the Dove Flies
Small Ensemble Flute,Piano,Voice - Level 3 - Digital Download SKU: A0.1008082 Compo…
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Small Ensemble Flute,Piano,Voice - Level 3 - Digital Download SKU: A0.1008082 Composed by Connie Pwll Walck Tyler. Contemporary,Sacred. Score and parts. 14 pages. Connie Tyler #4607671. Published by Connie Tyler (A0.1008082). This piece, for soprano and alto duet with piano and flute, speaks of the persistence of the dove, the peace maker, faced with war, famine, poverty, etc. It was written when the United States went to war with Afghanistan and Representative Barbara Lee stood up and was the lone voice against war. Although the piece is secular, the use of the symbol of the dove would work well in religious services.The piece involves a two against three rhythm which suggests the difficulties the dove faces flying for peace against the overwhelming odds of war. The .mp3 file is computer generated with choral oohs for the voices. The words are:Now the dove flies, sails the war-torn skies,feels the wind rip through her wings.Tossed and turned now, cries of war howl,tear-ing through her, and she still sings. Sings to march-ers on crowd-ed streetssing-ing songs of love and songs of peace.Tips her wings to those who dare stand tall,speak re-sound-ing no's in hal-lowed halls. They say that that sin means to miss the mark.I have so man-y times aimed in the dark.We fail in lit-tle ways, be-tray our friends.It was-n't planned that way.Dis-trac-tion leads to e-vil ends. The sha-dow fear clouds our at-ten-tion.Mind falls a-stray in-to dis-sen-sion. Ig-no rance can twist the dartand then it falls far from the mark. Na-tions, too, a-stray our free-doms bend‘til some have bombed away all chance at friends. We see glo-ry mag-ni-fied.Shout our prais-es to the to the skies.Build our mon-u-ments to our wars,for-get-ting the needs of of weak and poor. And still the dove flies while the earth criespol-lu-ted with more de-bris of war.Child-ren sick now, soldiers cry foul!Dove is weep-ing and yet she hums. Hums to child-ren who diede-spite moth-ers' deep cries.Sings to young who march to war,de-spite fa-thers' out-raged roars.Wings o-ver fa-mine and drought,pol-lu-ted wa-ter, pol-lu-ted ground.Folds us un-der her down-y breast.Warms us in her gen tle nest. Yes, the dove flies. Sails the wa- torn skies.Feels the wind rip through her wings.Tossed and turned now cries of war howltear-ing through her and yet,and yet she sings. For more information or possible revisions contact Connie Pwll Walck Tyler at connie@deephum.com. You can also find out more about her work at www.deephum.com. The words are:
$8.00
7.28 €
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Connie Pwll Walck Tyler
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Now the Dove Flies
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Connie Tyler
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SheetMusicPlus
Too Much For Our Thirst (Trombone and Piano)
Trombone and Piano
Piano,Tenor Trombone - Level 4 - Digital Download SKU: A0.1335564 Composed by Alexa…
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Piano,Tenor Trombone - Level 4 - Digital Download SKU: A0.1335564 Composed by Alexander Burdiss. Contemporary. Score and part. 12 pages. Ars Nova Press #921400. Published by Ars Nova Press (A0.1335564). Too Much For Our Thirstby Alexander BurdissArranged for Trombone and PianoDedicated to Courtney CarmackPerformance Time: approx. 7:00This is an adaptation for trombone of a piece originally written for tuba. The Eyes of the Poor from Paris SpleenWritten by Charles Baudelaire, Translated by Arthur Symons Ah! you want to know why I hate you to-day. It will probably be less easy for you to understand than for me to explain it to you; for you are, I think, the most perfect example of feminine impenetrability that could possibly be found. We had spent a long day together, and it had seemed to me short. We had promised one another that we would think the same thoughts and that our two souls should become one soul; a dream which is not original, after all, except that, dreamed by all men, it has been realised by none. In the evening you were a little tired, and you sat down outside a new café at the corner of a new boulevard, still littered with plaster and already displaying proudly its unfinished splendours. The café glittered. The very gas put on all the fervency of a fresh start, and lighted up with its full force the blinding whiteness of the walls, the dazzling sheets of glass in the mirrors, the gilt of cornices and mouldings, the chubby-cheeked pages straining back from hounds in leash, the ladies laughing at the falcons on their wrists, the nymphs and goddesses carrying fruits and pies and game on their heads, the Hebes and Ganymedes holding out at arm's-length little jars of syrups or parti-coloured obelisks of ices; the whole of history and of mythology brought together to make a paradise for gluttons. Exactly opposite to us, in the roadway, stood a man of about forty years of age, with a weary face and a greyish beard, holding a little boy by one hand and carrying on the other arm a little fellow too weak to walk. He was taking the nurse-maid's place, and had brought his children out for a walk in the evening. All were in rags. The three faces were extraordinarily serious, and the six eyes stared fixedly at the new café with an equal admiration, differentiated in each according to age. The father's eyes said: How beautiful it is! how beautiful it is! One would think that all the gold of the poor world had found its way to these walls. The boy's eyes said: How beautiful it is! how beautiful it is! But that is a house which only people who are not like us can enter. As for the little one's eyes, they were too fascinated to express anything but stupid and utter joy. Song-writers say that pleasure ennobles the soul and softens the heart. The song was right that evening, so far as I was concerned. Not only was I touched by this family of eyes, but I felt rather ashamed of our glasses and decanters, so much too much for our thirst. I turned to look at you, dear love, that I might read my own thought in you; I gazed deep into your eyes, so beautiful and so strangely sweet, your green eyes that are the home of caprice and under the sovereignty of the Moon; and you said to me: Those people are insupportable to me with their staring saucer- eyes! Couldn't you tell the head waiter to send them away? So hard is it to understand one another, dearest, and so incommunicable is thought, even between people who are in love!
$9.99
9.09 €
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Trombone and Piano
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Alexander Burdiss
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Too Much For Our Thirst
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Ars Nova Press
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SheetMusicPlus
Riverside - Original Piano Solo - Challenging Contemporary Classical Composition
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.1029079 Composed by Joshua Popovici…
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Piano Solo - Level 4 - Digital Download SKU: A0.1029079 Composed by Joshua Popovici. Classical,Contemporary,Pop. Score. 8 pages. Joshua Popovici #4629413. Published by Joshua Popovici (A0.1029079). I confess. There’re a lot of arrangements out there. But unlike everyone else. I keep the arrangements exciting and challenging for you. So, don’t fear! This song has been played live. And based on my 8 years of experience, it’s then tweaked to perfection. I believe you’re better off playing songs that focus on beautiful harmony and a little bit of challenge. This song is an original composition of Riverside as piano solo piece. Share this link with someone who might be like this song! As you play through this arrangement, you'll notice how all the different parts interact with each other. With each hand clearly playing it's own interesting melody. It’s a rich and complex song. Not only will you enjoy playing this, but listeners will also experience something unforgettable! Buy now. Practice Tomorrow. Preform later. And experience the joy of performing quality arrangements. Money back Guaranteed! Contact me if you need anything. You'll get a response ASAP. I'll be your free assistant :) Email me at josh1pop@gmail.com. The Goal: Professional Scores. Amazing Service. Best Value!
$3.98
3.62 €
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Piano solo
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Joshua Popovici
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Riverside - Original Piano Solo - Challenging Contemporary Classical Composition
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Joshua Popovici
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SheetMusicPlus
who knows if the moon's a balloon - SSAA (Children) & Piano
Choral SSAA
Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.1000875 Composed by Charle…
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Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.1000875 Composed by Charles Griffin. 20th Century,Contemporary. Octavo. 8 pages. Coriolis Press #5982771. Published by Coriolis Press (A0.1000875). SSAA with piano accompaniment (1999 rev. 2020) ca. 3’e.e. cummings, Text.Commissioned by the Piedmont Choirs, for use in the International Choral Olympics in Linz, Austria, July, 2000.The MP3 recording is of the original composition. A handful of small tweaks were recently made, all of which simplify the performance challenges.Text:who knows if the moon’sa balloon, coming out of a keen cityin the sky-filled with pretty people?(and if you and I shouldget into it, if theyshould take me and take you into their balloon,why thenwe’d go up higher with all the pretty peoplethan houses and steeples and clouds:go sailingaway and away into a keencity which nobody’s ever visited, wherealwaysit’sSpring)and everyone’sIn love and flowers pick themselves
$2.99
2.72 €
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Choral SSAA
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Charles Griffin
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who knows if the moon's a balloon - SSAA
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Coriolis Press
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SheetMusicPlus
Forever (we Sing Hallelujah)
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.1170889 Composed by Brian Johnson, …
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Piano Solo - Level 3 - Digital Download SKU: A0.1170889 Composed by Brian Johnson, Christa Black Gifford, Gabriel Wilson, Jenn Johnson, Joel Taylor, and Kari Jobe. Arranged by Brian Buda. Christian,Contemporary,Easter,Praise & Worship. Score. 11 pages. Budaful music #771232. Published by budaful music (A0.1170889). This is a piano solo version of Forever (We Sing Hallelujah). This setting is a great option to play before or after a church service. This arrangment does not follow the exact format and chords of the original but it is intended for piano only so some tweaking is preferable. I've listed this as intermediate although it does get 'Rachmaninoff-like' by the end, for intermediate players, simply repeat chorus 1 and omit the final page. 2 keys are included: A and Ab.Check out my KEYS/VOCAL/LEAD version of this song for use with band/vocals.
$5.99
5.45 €
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Piano solo
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Brian Johnson, Christa Black Gifford, Gabriel Wilson, Jenn Johnson, Joel Taylor, and Kari Jobe
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Forever
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budaful music
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SheetMusicPlus
King Cotton (concert band arrangement)
Concert band
Concert Band - Digital Download SKU: A0.913561 Composed by John Philip Sousa. Arran…
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Concert Band - Digital Download SKU: A0.913561 Composed by John Philip Sousa. Arranged by Michael James Daniel Robets. 20th Century,Contemporary. Score and parts. 84 pages. Mike Roberts #6039417. Published by Mike Roberts (A0.913561). An arrangement of a classic Sousa march. It's quite faithful to the original, with some instrumentation changes and a few tweaks here and there. It should be well within the capability of a school or college concert band. The dynamic markings are fairly unsubtle, but are crucial to making the piece work. Watch out for the sudden drops to 'p'!A note about the parts: trumpets 2-4 are combined on the score for ease of reference, but are separated on the parts. The other combined (doubled) instruments are NOT separated on the parts, but I will be happy to provide separated parts if desired - please get in touch at michael.roberts@ucl.ac.uk
$14.99
13.63 €
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Concert band
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John Philip Sousa
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King Cotton
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Mike Roberts
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SheetMusicPlus
Little Waltz for a Dancing Occasion
Large Ensemble - Level 1 - Digital Download SKU: A0.955739 Composed by Phil Thrift.…
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Large Ensemble - Level 1 - Digital Download SKU: A0.955739 Composed by Phil Thrift. Instructional. Score and parts. 18 pages. Phil Thrift #6327371. Published by Phil Thrift (A0.955739). Little Waltz for a Dancing Occasion is intended for junior players and can be performed on virtually any combination of five or more woodwind and/or brass instruments. It is based on my own experience of working with such groups.This waltz is perhaps a little unconventional in that it does not make use of a strong first beat – traditionally played by bass instruments – followed by weaker second and third beats. Furthermore, in this piece most of the phrases are five, seven or nine measures long, thus departing from the four- or eight-measure phrases many players will be used to. From measure 22 the melody in 3/4 time has an accompaniment that is essentially in 2/4 time; I’ve included accents here to help ensure a 2/4 feel. There’s also a rather abrupt ending which, hopefully, will take some by surprise. And everybody gets the tune at some stage, not just the usual melody instruments!The parts included are suitable for the instruments found in groups of learners:flute, oboe, Bb clarinet, bassoonEb alto sax, Bb tenor saxBb trumpet, F/Eb horn, trombone (TC/BC), euphonium (TC/BC), tuba, Bb/Eb bassThe high flute/oboe part is optional. The glockenspiel is also optional and I’ve mainly included this part so that, if you have a drummer who needs something to do, he or she won’t be tempted to just play bass drum on first beat, snare on second and third beats!The tempo chosen will depend on the abilities of the players.Apart from maybe saving paper, writing two parts on one system does help players to learn to read such charts – something I feel all players should learn to do from an early age.
$12.99
11.82 €
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Phil Thrift
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Little Waltz for a Dancing Occasion
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Phil Thrift
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SheetMusicPlus
Interstellar
Organ
Instrumental Solo,Pipe Organ - Level 5 - Digital Download SKU: A0.1316991 Composed …
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Instrumental Solo,Pipe Organ - Level 5 - Digital Download SKU: A0.1316991 Composed by Alex Gibson, Hans Florian Zimmer, and Ryan Romeyn Rubin. Arranged by Anna Lapwood. 21st Century,Classical,Contemporary,Film/TV. Individual part. 29 pages. Anna Lapwood #904082. Published by Anna Lapwood (A0.1316991). 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! I think the Interstellar soundtrack has done more to popularise the organ than anything or anyone else! I’ve chosen three of my favourite cues from the film and put them together into a suite. It can be performed in any order, with the pieces played one after the other or scattered throughout a recital programme.  - Anna Lapwood.
$19.99
18.18 €
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Organ
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Alex Gibson, Hans Florian Zimmer, and Ryan Romeyn Rubin
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Interstellar
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Anna Lapwood
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SheetMusicPlus
Sing for Peace
Choral SATB
Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1371453 Composed by…
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Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1371453 Composed by Leonhard Stampler. Arranged by Leonhard Stampler. 21st Century,A Cappella,Contemporary,Multicultural,Pop,World. 16 pages. Leonhard Stampler #955672. Published by Leonhard Stampler (A0.1371453). Sing for Peace is a song dedicated to all who are suffering from war and terrorism.The lyrics of this song are based on and inspired by these quotes showing us how music can ease tension, bring people together and inspire change:“This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before.†(Leonard Bernstein)“Where words fail, music speaks.†(Hans Christian Andersen)“Some of us are born with a weakness for music. As a baby, music would stop whatever thought I was having. If I was worried, it would stop me worrying; if I was crying, it would stop me crying. Music was a healing thing for me.†(Andrea Bocelli)“Music is the message of peace, and music only brings peace.†(Zubin Mehta)“Brotherhood despite all wars and conflicts: I try - to the best of my ability - to serve this idea in my music.†(Béla Bártok)“Music is meaningless noise unless it touches a receiving mind.†(Paul Hindemith)Music - that wonderful language - should be a source of communication among men. (Pablo Casals)When music and courtesy are better understood and appreciated, there will be no war.†(Confucius).
$2.99
2.72 €
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Choral SATB
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Leonhard Stampler
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Sing for Peace
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Leonhard Stampler
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SheetMusicPlus
When You Say Nothing At All
Saxophone Quartet: 4 saxophones
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Te…
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Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.1269175 By Alison Krauss & Union Station. By Don Schlitz and Paul Overstreet. Arranged by Dorothy Orr. 20th Century,Chamber,Contemporary,Film/TV,Wedding. 17 pages. Dorothy Orr #861712. Published by Dorothy Orr (A0.1269175). When You Say Nothing At All has been arranged for saxophone quartet (SATB). It stays very true to the Ronan Keating and Alison Krauss versions and will be instantly recognisable as the hit track from the film 'Four Weddings and a Funeral. This arrangement will be a crowdpleaser for weddings and concerts. I hope that you enjoying putting it together and performing it.I am an experienced arranger who is continuously tweaking and modifying arrangements for use in the school where I teach and in ensembles I play in myself. All of my arrangements have been thoroughly checked, performed and they work.
$12.99
11.82 €
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Saxophone Quartet: 4 saxophones
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Alison Krauss & Union Station
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When You Say Nothing At All
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Dorothy Orr
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SheetMusicPlus
Course of Empire
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - Digital Do…
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Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - Digital Download SKU: A0.1448781 Composed by Kyle Vanderburg. 21st Century,Classical. 58 pages. NoteForge #1028595. Published by NoteForge (A0.1448781). Course of Empire takes its title and theme from a series of paintings by Thomas Cole. Over the course of these five paintings, an imaginary city rises and falls. A large boulder atop a cliff watches the scenes unfold: a wild and untamed landscape in the first painting; an agrarian, peaceful, arcadian state in the second; a decadent celebration in the third; the sack and destruction of the city in the fourth; and the ruins in the last.I tried to work unifying musical motives throughout the quintet. The first movement, The State of Nature, begins with a twelve-tone texture. There is no sense of tonal hierarchy or pitch center. The music is in a state of balance, adhering to a natural system not discernable to the listener. The bassoon introduces the main motive representing the cliff, a pastoral sort of hiccup.The second movement, Daydreams of Arcadia, begins with and develops the cliff motive, and has a more defined tonality. There is more action throughout the movement, as we’re led to the peaceful beginnings of civilization. The Empire motive, a series of syncopated chords, shows up toward the end of the movement: This is the beginning of the end, where our imaginary city makes the change from existing in harmony with nature to conquering it.The third movement, Fulfillment of Empire, begins with a cliff motive that has been added to, almost to the point of unrecognizability. Scenes of empire are shown musically, from a grand parade, to a show of naval forces, to the temple that occupies most of the painting. The Empire theme returns, expanded upon, but somehow sounding a little overextended.The fourth movement, The Fall, alternates between unfriendly chords (and noises) and the Empire motive. Every iteration of the Empire motive gets a little weaker, as the foundations of the civilization are destroyed. The movement ends with a lone flute.Movement five, Redemption, features some scenes that are familiar, but are now in ruins. The movement slips slowly back into the twelve-tone texture from the beginning. The Empire motive, or something like it, makes a brief appearance and passes through the ensemble, starting in the upper voices and sinking into the lower.
$25.00
22.74 €
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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Kyle Vanderburg
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Course of Empire
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NoteForge
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SheetMusicPlus
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