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I Hate Men
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I Hate Men
Sheetmusic to print
225 sheet music found
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201
Someday I May Be Far Away (Bb Expanded Lead Sheet)
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C Instruments
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Jazz
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Matthew Rybicki
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Matthew Rybicki
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Someday I May Be Far Away
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Matthew Rybicki
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SheetMusicPlus
C Instrument - Digital Download SKU: A0.482348 By Matthew Rybicki. By Matthew Rybicki. Arranged by Matthew Rybicki. Jazz. Lead Sheet / Fake Book. 2 pages...
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C Instrument - Digital Download SKU: A0.482348 By Matthew Rybicki. By Matthew Rybicki. Arranged by Matthew Rybicki. Jazz. Lead Sheet / Fake Book. 2 pages. Published by Matthew Rybicki (A0.482348). Many New Yorkers have a real love-hate relationship with the city, and I'm no different. This tune references my struggles with the ups and downs of my life in New York, symbolized by the static energy in the first part of the main melody that morphs into a more aggressive forward movement.
$1.99
Someday I May Be Far Away (Eb Expanded Lead Sheet)
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C Instruments
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Jazz
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Matthew Rybicki
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Matthew Rybicki
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Someday I May Be Far Away
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Matthew Rybicki
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SheetMusicPlus
C Instrument - Digital Download SKU: A0.482350 By Matthew Rybicki. By Matthew Rybicki. Arranged by Matthew Rybicki. Jazz. Lead Sheet / Fake Book. 2 pages...
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C Instrument - Digital Download SKU: A0.482350 By Matthew Rybicki. By Matthew Rybicki. Arranged by Matthew Rybicki. Jazz. Lead Sheet / Fake Book. 2 pages. Published by Matthew Rybicki (A0.482350). Many New Yorkers have a real love-hate relationship with the city, and I'm no different. This tune references my struggles with the ups and downs of my life in New York, symbolized by the static energy in the first part of the main melody that morphs into a more aggressive forward movement.
$1.99
Someday I May Be Far Away (C Expanded Lead Sheet)
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C Instruments
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Jazz
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Matthew Rybicki
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Matthew Rybicki
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Someday I May Be Far Away
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Matthew Rybicki
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SheetMusicPlus
C Instrument - Digital Download SKU: A0.482347 By Matthew Rybicki. By Matthew Rybicki. Arranged by Matthew Rybicki. Jazz. Lead Sheet / Fake Book. 2 pages...
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C Instrument - Digital Download SKU: A0.482347 By Matthew Rybicki. By Matthew Rybicki. Arranged by Matthew Rybicki. Jazz. Lead Sheet / Fake Book. 2 pages. Published by Matthew Rybicki (A0.482347). Many New Yorkers have a real love-hate relationship with the city, and I'm no different. This tune references my struggles with the ups and downs of my life in New York, symbolized by the static energy in the first part of the main melody that morphs into a more aggressive forward movement.
$1.99
I Hate Goodbyes
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Piano solo
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EASY
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Contemporary
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Jaap Reesema
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Gonzalo Gimenez
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I Hate Goodbyes
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Gonzalo Gimenez
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SheetMusicPlus
Piano Solo - Level 2 - Digital Download SKU: A0.884661 By Jaap Reesema. By Allan Eshuijs, Gordon Groothedde, and Jaap Reesema. Arranged by Gonzalo Gimene...
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Piano Solo - Level 2 - Digital Download SKU: A0.884661 By Jaap Reesema. By Allan Eshuijs, Gordon Groothedde, and Jaap Reesema. Arranged by Gonzalo Gimenez. Contemporary. Score. 1 pages. Gonzalo Gimenez #6618059. Published by Gonzalo Gimenez (A0.884661). For piano solo. Early intermediate level. Original key. Symplified rythms.
$4.99
For I Am the Bread of Life [Lead Sheet]
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C Instruments
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INTERMEDIATE/ADVANCED
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Cher & Gene Klosner
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Gene Klosner
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For I Am the Bread of Life [Le
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Cher & Gene Klosner
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SheetMusicPlus
C Instrument - Level 4 - Digital Download SKU: A0.1315573 By Cher & Gene Klosner. By Gene Klosner. Arranged by Gene Klosner. Christian,Easter,Lent,Praise...
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C Instrument - Level 4 - Digital Download SKU: A0.1315573 By Cher & Gene Klosner. By Gene Klosner. Arranged by Gene Klosner. Christian,Easter,Lent,Praise & Worship,Rock. Lead Sheet / Fake Book. 8 pages. Cher & Gene Klosner #904315. Published by Cher & Gene Klosner (A0.1315573). As featured on Cher & Gene Klosner's Whatever Is True (Whatever Is Lovely) NPM (National Association of Pastoral Ministers) Lunchtime Concert, which can be found at the attached YouTube link (about 26 minutes in).Use for any opening/closing or Communion, especially for:Lent 3A, 4B, 5AEaster 2ABC, 4C, 5AB, 6B, 7ACPentecost VigilTrinity ABody & Blood ABCOrdinary Time 15C, 17-21B, 21C, 31C, 32C, 33ASeptember 14: Exaltation of the Holy CrossNovember 2: All Souls’ DayThemes:Communion/Eucharist/Bread of Life/Raising Us Up/Eternal Life/Hunger & Thirst/Living Water/I am the Resurrection and the Life/The Way, the Truth, the Life/God's Voice/Calling/Word of God/Belief/Spirit and Life/Remain in GodScriptural Passages:Jn 4:14; Jn 5:24-29; Jn 6:29-63; Jn 7:37-38; Jn 11:25-26; Jn 14:6, 19-21; Jn 15:4.This PDF contains the following versions: - Lead Sheet (for lead tenor, guitar accompanist, piano chorders - similar to fake books) - Refrain Assembly (for director, worship aid makers)...with descriptions and tips for the director and musiciansAvailable separately in Lead Sheet and PGV formats and Full Octavo Package.Parts also available for clarinets (or similar instruments) and for tubular bells.Also available as Reprise version (slow/meditative).www.facebook.com/ltfmusicwww.LTFMusic.comhttps://www.youtube.com/LighttheFireMusicKlosner.
$3.99
I Hate a Man in Drag
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Piano, Vocal and Guitar
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INTERMEDIATE
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Sarah - Lousie Young
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Richard Link
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I Hate a Man in Drag
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artLink Publishers
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.513225 By Sarah - Lousie Young. By Music and lyrics by Heather Tyrrell and Richard Link. Ar...
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.513225 By Sarah - Lousie Young. By Music and lyrics by Heather Tyrrell and Richard Link. Arranged by Richard Link. Broadway,Contemporary,Musical/Show. Score. 5 pages. ArtLink Publishers #123985. Published by artLink Publishers (A0.513225). From the drag action musical, Heels of Glory comes the ultimate diva number, I Hate a Man in Drag. Arch villainess, Allura Supreme, is about to execute an evil plan to annihilate every drag queen in the world, but first she explains why. In Song. Range: A4 - G5. Strong mix belt, with optional soprano cadenza (up to C6) at the end. Suitable for women 18+.
$3.99
10 Things I Hate About You
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Recorder
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EASY
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Pop music
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Leah Kalmenson, Madison Yanofs
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Michael Habrom
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10 Things I Hate About You
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Michael Habrom
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SheetMusicPlus
Recorder Solo - Level 2 - Digital Download SKU: A0.1033738 Composed by Leah Kalmenson, Madison Yanofsky, and Michael Wise. Arranged by Michael Habrom. Po...
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Recorder Solo - Level 2 - Digital Download SKU: A0.1033738 Composed by Leah Kalmenson, Madison Yanofsky, and Michael Wise. Arranged by Michael Habrom. Pop. Individual part. 3 pages. Michael Habrom #639056. Published by Michael Habrom (A0.1033738). For Soprano Recorder Wonderful song (Tik Tok Hit 2022). Easy to play and still great to listen to. With the addition of the chords, an experienced pianist or guitarist can accompany the player. Have fun!
$4.99
10 Things I Hate About You
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Easy Piano
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EASY
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Rock
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Leah Kalmenson, Madison Yano
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Michael Habrom
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10 Things I Hate About You
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Michael Habrom
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SheetMusicPlus
Composed by Leah Kalmenson, Madison Yanofsky, and Michael Wise. Arranged by Michael Habrom. Pop, Rock. Score. 4 pages. Michael Habrom #608390. Publish...
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Composed by Leah Kalmenson, Madison Yanofsky, and Michael Wise. Arranged by Michael Habrom. Pop, Rock. Score. 4 pages. Michael Habrom #608390. Published by Michael Habrom
$4.99
I Hate Myself For Loving You
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Choral 3-part
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EASY
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Joan Jett
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Dan Signor
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I Hate Myself For Loving You
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Sig
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SheetMusicPlus
Choral Choir (SAB) - Level 2 - Digital Download SKU: A0.1088260 By Joan Jett. By Desmond Child and Joan Jett. Arranged by Dan Signor. A Cappella,Rock. Oc...
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Choral Choir (SAB) - Level 2 - Digital Download SKU: A0.1088260 By Joan Jett. By Desmond Child and Joan Jett. Arranged by Dan Signor. A Cappella,Rock. Octavo. 9 pages. Sig #692511. Published by Sig (A0.1088260). Sometimes you just want to rock-out while singing a cappella! Here is your opportunity to make this classic RNR song come alive with no instruments. Really take advantage of the clapping sections of this arrangement....it will really make your performance memorable and fun.
$2.99
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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Contemporary
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dislocation I mean a degree of
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Jenni Roditi
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RITUALISE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. Published by Jenni Roditi (A0.1497861). Piano Duo 2 pianos/4 hands. Ritualise, Between the Octaves finally found its identity with the word ritualise. It began as announce, became pronounce, then declare and went as far a pontificate for a title. At that point I realised I was mocking my own music and needed to take it more seriously. Ritualise brought out a meaning to the music that I hadn’t wanted to admit to. It is quite folk-like, in a primal and entrancing kind of way. I can imagine a communal dance for some ceremonial purpose in this music with both public and private elements.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
INITIATE, Between the Octaves - A Piano Duo Suite (Movement 1 of 7)
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2 Pianos, 4 hands
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ADVANCED
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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INITIATE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 5 - Digital Download SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 5 - Digital Download SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. Published by Jenni Roditi (A0.1497831). For Piano Duo - 2 pianos/4hands. Initiate, Between the Octaves, the opening piece in the suite, is a sparky, rhythmic and post-modern hoquet, of some wit and almost perpetual bounciness. A ricocheting of quickly contrasting dynamics with occasional switches to distant moments. Three big plunges into legato emotional flow, release the popping bubbles of the fiery staccato material. A short final chorale settles and grounds the quick cuts, swoops and build ups that have propelled the whole piece. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
I Hate Men (from Kiss Me Kate) (arr. Richard Walters)
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Broadway
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Richard Walters
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I Hate Men
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Hal Leonard - Digital
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SheetMusicPlus
Piano Accompaniment,Piano and Keyboard,Vocal,Voice (Soprano Voice) - Interactive Download SKU: HX.453496 Arranged by Richard Walters. This edition: Inter...
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Piano Accompaniment,Piano and Keyboard,Vocal,Voice (Soprano Voice) - Interactive Download SKU: HX.453496 Arranged by Richard Walters. This edition: Interactive Download,scorch. Broadway,Musical/Show. Score. 3 pages. Hal Leonard - Digital #358590. Published by Hal Leonard - Digital (HX.453496).
$4.99
I Heard The Bells On Christmas Day
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Jazz Ensemble
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INTERMEDIATE
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Christmas
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Casting Crowns
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Dennis Ruello
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I Heard The Bells On Christmas
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Chicory Music
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.734393 By Casting Crowns. By Bernie Herms, Dale Oliver, and Mark Hall. Arranged by Denni...
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Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.734393 By Casting Crowns. By Bernie Herms, Dale Oliver, and Mark Hall. Arranged by Dennis Ruello. Contemporary. Score and parts. 28 pages. Chicory Music #3859021. Published by Chicory Music (A0.734393). 2018 Holiday Contest EntryI Heard the Bells on Christmas Day is a Christmas carol based on the 1863 poem Christmas Bells by American poet Henry Wadsworth Longfellow. The song tells of the narrator's despair, upon hearing Christmas bells, that hate is strong and mocks the song of peace on earth, good will to men. The carol concludes with the bells carrying renewed hope for peace among men. This intermediate jazz combo arrangement contains the following parts: Alto Sax, Tenor Sax, Baritone Sax, Trumpet 1, Trumpet 2 (Optional), Trombone, Piano, Bass, Drum Set and Full Score. It is basically an octet with an optional 2nd trumpet part. Performance Time Approx. 2 minutes 40 seconds.
$19.99
IGNITE, Between the Octaves - A Piano Duo Suite (Movement 7 of 7)
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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IGNITE, Between the Octaves -
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074279. Published by Jenni Roditi (A0.1497866). Piano Duo - 2 pianos/4 hands. Ignite, Between the Octaves began with the impetus of static ‘pulsation’ (its original title) on repeated octaves. The piece is a fizzing dash of nodal vortices, small, then larger, spinning and tumbling and all the way to the finish line. This piece brings the complete suite of 7 pieces to a dynamic close, with a sense of ignition to new beginnings. The music echoes the opening F octaves of Initiate (movement 1). Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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ENCIRCLE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. Published by Jenni Roditi (A0.1497857). Piano Duo 2 pianos/4 hands. Encircle, Between the Octaves, originally called rotate as its impetus was to generate a steadily rotating music. Encircle was later chosen as a more evocative word. The harmony surprised me as it suggested shifts and colourations that I would not have expected to conjure. Two upper rotating parts with melodic narrative are supported by bass and baritone lower parts. The final section adds a dance-like short form to end what could otherwise have run and run and run. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
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2 Pianos, 4 hands
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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SURRENDER, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074...
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published by Jenni Roditi (A0.1497843). Piano Duo - 2 pianos, 4 hands. Surrender, Between the Octaves was the piece that was composed first in the suite. It exposes a simple call to return to the beginning, to return to a pure act of listening. This note..ah, now that note.. oh. This is how the piece was written - one note at a time. Listening from within a space (its original title) of resonance, of edges and meetings, of disappearances and repetitions that reflect on this gentle body of notes. There is a slow hearing that may, or may not create a tone-journey.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7)
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2 Pianos, 4 hands
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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THREAD, Between the Octaves A
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074...
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published by Jenni Roditi (A0.1497847). Piano Duo 2 pianos/4 hands. Thread, Between the Octaves grew out of the call the make a single line weave between the octaves. Line was the original title. Thread, as a word, brings more texture to the title and describes what the line is actually doing, threading around the harmony. A secondary thread is heard after a while, echoing and shading the primary line, with its own treble weave. It was like going back to the beginning of making melody again.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
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2 Pianos, 4 hands
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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CURVE, Between the Octaves - A
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074...
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published by Jenni Roditi (A0.1497852). Piano Duo 2 pianos/4 hands. Curve, Between the Octaves points to a fugal past, where lines enter and build in stately flow. It invites lines to intermingle, without assuming they will all arrive somewhere, or at the same time. A certain intensity builds, then scales, both up and down, free themselves from the discussion of the interleaving lines. The chromaticism suggests curving between harmonies, and is nearly always ambivalent. An assertive chordal climax intervenes to shake off the tensions, yet this peels away into further curvatures that twist and twirl, until a final resting point agrees to present itself. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
Diehnelt: I Had No Time for SATBBB Choir
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Kim Diehnelt
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Diehnelt: I Had No Time for SA
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Kim Diehnelt
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SheetMusicPlus
Choral Choir - Level 4 - Digital Download SKU: A0.809068 Composed by Kim Diehnelt. A Cappella,Contemporary. Octavo. 9 pages. Kim Diehnelt #6211803. Publi...
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Choral Choir - Level 4 - Digital Download SKU: A0.809068 Composed by Kim Diehnelt. A Cappella,Contemporary. Octavo. 9 pages. Kim Diehnelt #6211803. Published by Kim Diehnelt (A0.809068). A 6-part a cappella setting of the poem I Had No Time To Hate by Emily Dickinson (1830 -1886) SATBBB or Men's voices (2CnT, T, 2 Bar, Bass.) Dur. 4 – 6'2020
$2.95
Chatelaine
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String Quartet: 2 violins, viola, cello
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INTERMEDIATE
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Dominic McGonigal
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Chatelaine
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C8 Music
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1305487 Composed by Dominic McGonigal. 21st Century,Classical,Conte...
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1305487 Composed by Dominic McGonigal. 21st Century,Classical,Contemporary. 15 pages. C8 Music #894933. Published by C8 Music (A0.1305487). The sound of baroque strings immediately sparked an idea, an incipit, which hung in gestation, waiting for its moment to emerge. That moment came, sat at a café, a moment of calm in the bustle of the street. My blue pencil sketched the lines and layered the harmonies in my notebook, like the movements of a baroque bow. I can hear the players building the sound, adding sonorities and creating arches of melody and harmony. I love the way the baroque violin can articulate groups of two or three notes and keep them together in one large phrase. Chatelaine draws on the heritage of the instruments, finding beauty in the contemporary cacophony of life. 4.20. More at www.dominicmcgonigal.com.
$1.99
Three-dimensional study I
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Guitar
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Alejandro Goldenberg
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Three-dimensional study I
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Alejandro Goldenberg
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SheetMusicPlus
Solo Guitar - Digital Download SKU: A0.1025538 Composed by Alejandro Goldenberg. 20th Century,Contemporary,Standards. Individual part. 5 pages. Alejandro...
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Solo Guitar - Digital Download SKU: A0.1025538 Composed by Alejandro Goldenberg. 20th Century,Contemporary,Standards. Individual part. 5 pages. Alejandro Goldenberg #4832485. Published by Alejandro Goldenberg (A0.1025538). The main idea was to write a music material with a study structure that allowed it to be performed by two players, but also by only one. This characteristic inspired the name of the studies, as I imagined each part of the duet as a dimension, and the whole of it, the union of both, as the third dimension. This score include the two guitars version and the one guitar version.Moreover with the Three-Dimensional, I searched for a diversity of composition styles, starting by the music of our American Continent and reflecting some of its traces.Thus sometimes in an explicit way, others only suggesting, River Plate, Brazilian, Caribbean and North American atmospheres are present. It is basically an integrating music, and because of its construction it asks the performer to improvise, compose and do whatever he likes with it.
$1.99
We Open In Venice (from "Kiss Me Kate")
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Piano, Vocal and Guitar
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Cole Porter
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We Open In Venice
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0012989 We Open In Venice. Composed by Cole Porter. Standard. 3 pages. Alfred Music - Digital ...
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Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0012989 We Open In Venice. Composed by Cole Porter. Standard. 3 pages. Alfred Music - Digital Sheet Music #00-PS-0012989. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0012989). ISBN 9780739073124. UPC: 038081402178.This songbook contains all of the classic songs from Cole Porter's greatest success, the hilarious and tuneful Broadway production Kiss Me, Kate. A total of 19 songs are featured in the book, which includes two that were never used. The book also includes an essay about the history of the show, illustrations and memorabilia from its various productions, and a personal remembrance from Patricia Morison, who played Kate in the original Broadway run. Titles: Another Op'nin', Another Show * Why Can't You Behave? * Wunderbar * So in Love * We Open in Venice * Tom, Dick or Harry * I've Come to Wive It Wealthily in Padua * I Hate Men * Were Thine That Special Face * I Sing of Love * Too Darn Hot * Where Is the Life That Late I Led? * Always True to You in My Fashion * Bianca * Brush Up Your Shakespeare * From This Moment On * I Am Ashamed That Women Are So Simple * We Shall Never Be Younger * What Does Your Servant Dream Bout.
$3.99
Were Thine That Special Face (from "Kiss Me Kate")
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Piano, Vocal and Guitar
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Cole Porter
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Were Thine That Special Face
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0012991 Were Thine That Special Face. Composed by Cole Porter. Standard. 4 pages. Alfred Music...
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Piano/Vocal/Chords - Digital Download SKU: AX.00-PS-0012991 Were Thine That Special Face. Composed by Cole Porter. Standard. 4 pages. Alfred Music - Digital Sheet Music #00-PS-0012991. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0012991). ISBN 9780739073124. UPC: 038081402178.This songbook contains all of the classic songs from Cole Porter's greatest success, the hilarious and tuneful Broadway production Kiss Me, Kate. A total of 19 songs are featured in the book, which includes two that were never used. The book also includes an essay about the history of the show, illustrations and memorabilia from its various productions, and a personal remembrance from Patricia Morison, who played Kate in the original Broadway run. Titles: Another Op'nin', Another Show * Why Can't You Behave? * Wunderbar * So in Love * We Open in Venice * Tom, Dick or Harry * I've Come to Wive It Wealthily in Padua * I Hate Men * Were Thine That Special Face * I Sing of Love * Too Darn Hot * Where Is the Life That Late I Led? * Always True to You in My Fashion * Bianca * Brush Up Your Shakespeare * From This Moment On * I Am Ashamed That Women Are So Simple * We Shall Never Be Younger * What Does Your Servant Dream Bout.
$3.99
Chatelar to Mary Queen of Scots, or, When Nightly My Wild Harp
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Piano, Voice
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George Barker
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Chatelar to Mary Queen of Scot
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - Digital Download SKU: LV.17869 Composed by George Barker. Rulers, Musicians, Lutes, Prisoners, Distress, Courtship & love. Lester S. Le...
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Piano and voice - Digital Download SKU: LV.17869 Composed by George Barker. Rulers, Musicians, Lutes, Prisoners, Distress, Courtship & love. Lester S. Levy Collection. 3 pages. Published by Johns Hopkins University Sheridan Libraries (LV.17869). Songs of Mary Queen of Scots. No.4. Chatelar to Mary Queen of Scots, or, When Nightly My Wild Harp. Written by Mrs. Crawford. Composed by Geo. Barker. Published [n.d.] by Miller & Beacham, Successors to F.D. Benteen in Baltimore. Composition of strophic with piano and voice instrumentation. Subject headings for this piece include Rulers, Musicians, Lutes, Prisoners, Distress, Courtship & love. First line reads When nightly my wild harp I bring To wake all its music for thee.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99
Que Sera, Sera (whatever Will Be, Will Be)
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Choral SATB
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INTERMEDIATE
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Pop music
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Doris Day
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Justin Goh
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Que Sera, Sera
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Justin Goh
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.878811 By Doris Day. By Jay Livingston and Raymond B. Evans. Arranged by Justin Goh. Pop. Octavo...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.878811 By Doris Day. By Jay Livingston and Raymond B. Evans. Arranged by Justin Goh. Pop. Octavo. 9 pages. Justin Goh #3859777. Published by Justin Goh (A0.878811). SATB ChoirA cappellaSample recording: https://www.youtube.com/watch?v=UwXiFG5YRBU--The idea of arranging this piece first came to me when I attended a Folksong Arrangement class. I was tasked to think about what songs my grandparents sang to me. Que Sera, Sera, although not a folksong, was the first that came to mind. My maternal grandmother had sung this to me in my younger days. Not long after, my grandmother announced that she intended to sell her house - the very house that I spent most of my growing-up years in. This was followed by many weeks of packing her belongings, uncovering forgotten treasures, and recalling the days of my childhood. Quite aptly, arranging this piece gave me an avenue to express my sentimental thoughts, and say goodbye to an old house filled with so many memories. I hope that both the performer and the listener can be transported back in time, even if just for a few minutes, to reminisce the happier and more carefree days of our lives. Furthermore, let us count our blessings in the present, as the future’s not ours to see. Que Sera, Sera. What will be, will be. --If you have questions or comments, I'm most happy to hear from you at justingohcj@gmail.com
$3.99
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