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I Was Doing All Right
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You've selected:
I Was Doing All Right
SheetMusicPlus
Sheetmusic to print
49 sheet music found
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1
26
I Was Doing All Right
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Piano, Vocal and Guitar
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Diana Krall
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I Was Doing All Right
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Piano/Vocal/Chords - Digital Download SKU: AX.00-XS-0000044 By Diana Krall. By George Gershwin and Ira Gershwin. Standard. 7 pages. Alfred Music - Digita...
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Piano/Vocal/Chords - Digital Download SKU: AX.00-XS-0000044 By Diana Krall. By George Gershwin and Ira Gershwin. Standard. 7 pages. Alfred Music - Digital Sheet Music #00-XS-0000044. Published by Alfred Music - Digital Sheet Music (AX.00-XS-0000044). ISBN 9780739057995. UPC: 038081349121.Canadian jazz pianist and vocalist, Diana Krall released her tenth album From This Moment On to chart-topping success in 2006. Now you can enjoy playing this album in your own home. This album-matching folio is professionally arranged for Piano/Vocal/Chords. Titles: Come Dance with Me * Day In, Day Out * Exactly Like You * From This Moment On * How Insensitive * I Was Doing Alright * Isn't This a Lovely Day * It Could Happen to You * It Was a Beautiful Day in August / You Can Depend on Me * Little Girl Blue * Willow Weep for Me.
$3.99
I Was Doing All Right
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Choral TTBB
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INTERMEDIATE/ADVANCED
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George Gershwin and Ira Gershw
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Dan Wessler
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I Was Doing All Right
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Dan Wessler
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SheetMusicPlus
Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.1255114 Composed by George Gershwin and Ira Gershwin. Arranged by Dan Wessler. Barbershop,Standa...
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Choral Choir (TTBB) - Level 4 - Digital Download SKU: A0.1255114 Composed by George Gershwin and Ira Gershwin. Arranged by Dan Wessler. Barbershop,Standards. Octavo. 5 pages. Dan Wessler #848706. Published by Dan Wessler (A0.1255114). Men's Barbershop Arrangement of I Was Doing All Right by Dan Wessler.
$2.50
I Was Doing All Right
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Organ
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Broadway
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George and Ira Gershwin
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I Was Doing All Right
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Hal Leonard - Digital
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SheetMusicPlus
Electronic Keyboard,Organ,Piano and Keyboard - Digital Download SKU: HX.616286 Composed by George and Ira Gershwin. This edition: scorch. E-Z Play Today....
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Electronic Keyboard,Organ,Piano and Keyboard - Digital Download SKU: HX.616286 Composed by George and Ira Gershwin. This edition: scorch. E-Z Play Today. Broadway,Musical/Show. Score. 2 pages. Hal Leonard - Digital #369983. Published by Hal Leonard - Digital (HX.616286). About Hal Leonard E-Z Play TodayFor organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar.
$2.99
An Omani Dance Suite - COMPLETE BUNDLE (Score and all parts)
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Choral SATB
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INTERMEDIATE
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Stuart Brown
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An Omani Dance Suite - COMPLET
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Stuart Brown Music
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.835452 Composed by Stuart Brown. 20th Century,Contemporary,World. Octavo. 211 pages. Stuart Brow...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.835452 Composed by Stuart Brown. 20th Century,Contemporary,World. Octavo. 211 pages. Stuart Brown Music #5990681. Published by Stuart Brown Music (A0.835452). A fantastic offer price for the full score and all parts! ... Looking for something to add a sense of oriental exoticism to your amateur orchestral/choral concert? This may be what you're looking for! This charming little suite of six dances lasts about 15½ minutes. It consists of a Pavane, Bourée, Sarabande, Allemande, Basse Danse and Galliard, which vary widely in character. As a whole the suite provides some interesting challenges for both performers and listeners. Apart from conventional strings, flute and harp (which can be either pedal or lever) you will need:- One or maybe two Arabian ouds. The parts are playable also on a fretless acoustic guitar. (Needs to be fretless because of the quarter-tones in some of the Arabic modes used.)- A cimbalom (the part can be played on a piano also, with slight modification). You might get away with using a hammered dulcimer but you'd need to make a number of compromises.- A doumbek and a djembe. These beautiful drums are a must for Middle-Eastern or African music. They're fairly easy to find, though finding somebody who can play them properly may take a bit more doing!- Finger cymbals and a gong. These are regular western instruments.- A wind-chime. Anything that produces a nice shimmering spangle of sound will probably do!- A group of singers (SATB). Nothing particularly challenging but see below.The primary oud part, the strings and the singers need to have sufficiently good intonation to pitch quarter tones. These are the exception rather than the rule, but nevertheless play an important part in the character of the music. Apart from this, the music is relatively straightforward and probably playable by any reasonably competent amateur or high school orchestra.In the spring of 2020 I wrote a set of short music tracks for a charity of which I'm a trustee. In order to protect my intellectual property rights in the music, I decided to bring it together into an attractive if not intellectually challenging little suite, hence An Omani Dance Suite. Originally the dances were all in Arabic quarter-tone temperament, but obviously quarter-tones cannot be played easily (if at all) on the flute, harp and cimbalom. So I have made some adjustments but retained the Arabic temperament wherever reasonably possible. I had thought initially of using a santur instead of a cimbalom, but the santur lacks the range and the dynamic capability to be used with a string chamber orchestra. The cimbalom doesn't need to be a concert grand model; in fact it doesn't even need to have dampers.The Omani was something of an afterthought: a musician friend of mine had worked in Oman and commented on how authentically Omani the Basse Danse sounded. The period of composition coincided with a time when I was really missing friends in Vietnam and Romania, so somehow influences from those countries found their way into the music.I'm not bothering with performing rights for this - just go away and enjoy the music! ... but if it inspires you find out more about the charity work that inspires me, feel free to get in touch!https://www.facebook.com/stuartbrownmusic/
$30.00
I was doing alright
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Alex Tinlin
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Alex Tinlin
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I was doing alright
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Alex Tinlin
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SheetMusicPlus
Small Ensemble A Clarinet,Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.1088723 By Alex Tinlin. By George Gershwin. Arranged by Alex Tinlin. 20...
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Small Ensemble A Clarinet,Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.1088723 By Alex Tinlin. By George Gershwin. Arranged by Alex Tinlin. 20th Century,Broadway,Jazz,Musical/Show,Standards. Score and parts. 8 pages. Alex Tinlin #692932. Published by Alex Tinlin (A0.1088723). My arrangement fro Clarinet and String Quartet of Gershwin's song 'I was doing alright' from the 1937 film 'The Goldwyn Follies'.
$12.99
I Was Doing All Right
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Melody line, (Lyrics) and Chords
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I Was Doing All Right
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Hal Leonard - Digital
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SheetMusicPlus
Digital Download SKU: HX.468525 Broadway,Jazz,Standards. Real Book - Melody/Chords. 1 pages. Published by Hal Leonard - Digital (HX.468525).
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Digital Download SKU: HX.468525 Broadway,Jazz,Standards. Real Book - Melody/Chords. 1 pages. Published by Hal Leonard - Digital (HX.468525).
$1.99
Eternal Bridge For Oboe Harp And Strings
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Luis Anjos Teixeira
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Eternal Bridge For Oboe Harp A
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Luis Anjos Teixeira
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SheetMusicPlus
Large Ensemble Cello,Double Bass,Harp,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.889419 Composed by Luis Anjos Teixeira. Concert,Contemporary...
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Large Ensemble Cello,Double Bass,Harp,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.889419 Composed by Luis Anjos Teixeira. Concert,Contemporary. Score and parts. 36 pages. Luis Anjos Teixeira #3492515. Published by Luis Anjos Teixeira (A0.889419). For the 2018 Chamber Music Contest Entry Eternal Bridge was made to be performed by a group of six soloists playing the following instruments: Oboe, Harp, Violin, Viola, Cello, Double Bass. It is not a difficult piece once learned. It is really a great fun for the players and very easy listening too, It covers a very wide range of audience demands. There is a groove feeling on it that makes it very pleasant to most all people. Because of its plasticity the piece allows many interpretations, therefore I did not made much use of interpretation symbols in order to leave to the performers the freedom of doing their own. Bowing and fingering are left totally virgin at the hands of the schools or the creativity of the performing Artists. P.S. - The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. This is the first time that this version is published in Sheet Music Plus. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Thanks to Claudia Eppelt for the cover design, all the Love and inspiration. Special Thanks to Nina and Stray Queen Mimi for my Family, all their Love Patience and Compassion. Love Forever.„The litle story of the - „Eternal BridgeEternal Bridge came out of a dream. Imagine a little railway station, a train that comes and stops, and your friends go inside. As you step on the little stairs to go inside, the doors close letting you out, and the train starts rolling. It speeds up very fast and enough so you can`t jump out of the little stairs back to the ground, you are holding now to the iron bars around the doors of the train, you see your friends and the people inside but they can`t see you, they can`t hear you, and you notice that the train is now on a bridge so high, that you can`t see the earth any more. Wind is blowing around me and I feel this cosmic cold and everything starts to twist around in a gigantic spiral. I still feel the Gravity but it goes in all directions at the same time pushing me violently and I feared to fail the grip on the iron bars and fall down, in an imaginary endless abyss. Little by little the speed of the events slows down progressively until everything freezes. Now, The other side of the bridge does not exist at all, neither the beginning or up or down. The train disappeared in a glimpse and I noticed that I was not falling down, just hanging there out in hyperspace, Free from Gravity. I lost the fear of falling in the abyss, it felt kind a good, because the only thing that I could see was light, pure beautiful bright white light, I was floating in light, I realised I could stay there forever, but then I felt lonely and wanted to come back home. When I finally woke up, I wrote this words in Portuguese and made a song out of it. the words go like:Ponte eterna abismo sem fundo - Vento ciclónico medo profundo - Comboio gelado lentidão d`aço - Espiral eterna suspensa no espaço - Maos agarram a vida duas barras d` aço - Corpo sacudido em espasmos de medo - Alucinação divina acordar de um sonho Eternal Bridge endless Abyss - Cyclonic wind deep Fear - Frozen Train slowness of steel - Eternal spiral suspended in space - Hands cling to life on two bars of steel - Body shaken into spasms of fear - Divine hallucination waking up from a dream
$25.00
I Was a Stranger - an original hymn
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Choral SATB
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INTERMEDIATE/ADVANCED
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Sacred music
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Kevin G
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I Was a Stranger - an original
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Kevin G. Pace
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.701764 Composed by Kevin G. Pace, Angie Killian. Christian,Praise & Worship,Sacred. Octavo. 2 pa...
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.701764 Composed by Kevin G. Pace, Angie Killian. Christian,Praise & Worship,Sacred. Octavo. 2 pages. Kevin G. Pace #3409835. Published by Kevin G. Pace (A0.701764). An original hymn with text by Angie Killian below.YouTube video: https://youtu.be/65jOsnpfYxY He taught us how to live He showed us how to give He opened up his arms and let the lepers in With poor men he walked With children he talked He took upon our pain and saved us from our sin I was hungry, you gave me meat I was thirsty, you gave me drink I was a stranger, you took me in I was a stranger, you took me in As we do unto men We're doing unto him So follow in the footsteps of the perfect one Help others on their way Spread light to bright their day And open up your heart to live like God's own Son I was hungry, you gave me meat I was thirsty, you gave me drink I was a stranger, you took me in I was a stranger, you took me in Give love and soon you'll see Though different we may be We're family, all children of a Heav'nly Father We're all around the world Some far and some near home Reach out your hand and lift the burden of your brother I was hungry, you gave me meat I was thirsty, you gave me drink I was a stranger, you took me in I was a stranger, you took me in
$1.99
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
If Not Now, When?
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Contemporary
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Chris Gordon
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If Not Now, When?
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Cool Wind Music Digital
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SheetMusicPlus
Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - Digital Download SKU: A0.841258 Composed by Chris Gordon. 20th Century. Score ...
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Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - Digital Download SKU: A0.841258 Composed by Chris Gordon. 20th Century. Score and parts. 39 pages. Cool Wind Music Digital #3056419. Published by Cool Wind Music Digital (A0.841258). Full set of parts: Please contact Chris Gordon at the email address on the first page of music for details.IF NOT NOW, WHEN? If Not Now, When? gets its title from the novel by Primo Levi, the Italian author who both survived life in Auschwitz and fought the continued German military presence in Italy with the Resistance after the Italian surrender to the Allies in September 1943. Levi meant that revolution and the overthrow of tyranny should never be 'put off until tomorrow'. If you believe you are on the side of right, then 'seize the day'- tomorrow may be too late. The inspiration for INNW? grew from research I was doing into an early song by Alban Berg called An Leukon which Berg wrote in 1907 while a student of Arnold Schoenberg. In delving into the kind of world which Berg inhabited in the Vienna of 100 years ago, I was fascinated by the café culture* which played a pivotal role in the lives of most artists: not only composers, but also writers, painters, architects and journalists. They swirled around the fashionable 'watering holes' sucking up current thoughts and ideas, high on Viennese coffee, cigar smoke and idealism! I envisaged a play which tried to encapsulate all this and wrote a few scenes with characters such as Schoenberg, Berg, Webern, Steuermann, Pisk, Kraus, Gropius and Altenberg heatedly discussing music, art and poetry over large cups of milky coffee. This grew into the framework for INNW? which, to paraphrase Pirandello's play about characters seeking an author, is a 'play without words in several scenes'. The piece is organised into 8 short movements or 'scenes' showing the 'Schoenberg cirle' sharing their radical and daring ideas and the shock or delight (or both simultaneously) with which those ideas are greeted. The first, which happens to be the longest, is rooted in conventional tonality. It begins with a fanfare in D flat major ('aux armes, citoyens!'), then seeks a 'freer' tonality by means of the 'emancipation of the semitone' only to capitulate in the central section and, finally, to 'fall back to earth' by winding down in G sharp minor. These 'scenes' are not meant to represent particular composers. They are, however, meant to represent the kinds of directions in which music could progress, given the 'breakdown' or 'stretching to its limits' of traditional harmony which had occurred in the previous 10 to 20 years. So many ways forward were promulgated, with one after another extraordinary, and often unexpected, futuristic musical panoramas glimpsed momentarily. My aim is to demonstrate which directions they decided they could head in having cleared the 'overgrown' path before them. * I even discovered that, around this time, in the Café Central, a certain Leon (Lev) Bronstein, otherwise known as Leon Trotsky, banished by the Okhrana (Imperial secrect police) from his native Russia, would spend all day in a back room playing chess. How delicious, I thought, if Schoenberg had ever brushed passed Trotsky or, indeed, had ever spoken to him: the one planning political and the other musical revolution!
$25.00
I Was Doing All Right
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Piano, Voice
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Jazz
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Diana Krall, Ira Gershwin, and
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Standards
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I Was Doing All Right
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Diana Krall, Ira Gershwin, and George Gershwin. Jazz; Standards. PV. 7 pages. Published by Hal Leonard - Digital Sheet Music ...
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By Diana Krall, Ira Gershwin, and George Gershwin. Jazz; Standards. PV. 7 pages. Published by Hal Leonard - Digital Sheet Music
$4.99
On That Cross
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Choral SSATTB
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EASY
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Sacred music
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Stuart Richard Brown
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Stuart Richard Brown
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On That Cross
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Stuart Brown Music
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SheetMusicPlus
Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182868 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Chri...
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Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182868 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Christian,Easter,Praise and Worship,Religious,Sacred. 12 pages. Stuart Brown Music #782616. Published by Stuart Brown Music (A0.1182868). Re-published specially for Easter 2023, this is a profoundly beautiful piece for 6-part choir and piano. The composer writes:'On That Cross' is a powerful reflection on the crucifixion of Jesus Christ. I came up with the lyrics at around 3am in the morning of 3rd December 2014 sitting at a desk in room 703 of the De Syloia Hotel in Hanoi, Vietnam. Often I find that my periods of working abroad give me the space to think of things in new ways. This song is a good example of that. One look at the first page of the score of 'On That Cross' is all you need to realize that this is not a case of a choir singing with a piano accompaniment. I put the piano part above the choir in order to dispel that misconception. So if it's not that, what is it? I wanted to demonstrate that it is possible to approach a subject from two completely different points of view, without either point of view being compromised by the other, and yet the result can nevertheless be a beautiful synergy. That is what the pianist and the choir are doing here. Each is meditating upon the cross of Christ, but from two totally unrelated points of view and yet somehow combining in a way that is almost hypnotically beautifully. There is little obvious relationship between the choir's and the piano's music; and yet each is reconciled to the other ... and there's a very good reason why I wanted the music to speak of such reconciliation.In late 2014 people in Iraq were being beheaded, crucified and generally killed in the most brutal and sadistic manner possible. Their only â??crimeâ?? was to dare to call themselves Christians. You can say what you like but in my book nobody has the right to tell anybody else what they should believe, much less murder them on religious grounds. The thing that incensed me almost to the point of incandescence was that the perpetrators of this unspeakable evil dared to justify their actions by claiming that they were acting on behalf of their god. So in such frame of mind I started to write the lyrics to 'On That Cross'.The first words that came into my mind were â??Oh men who dare to call on gods to justify your hatred â?? of this be sure â?¦â? and I wanted to follow that with threats of eternal damnation, torture in hellfire and so on. Except that the words that flowed out of my fingers onto my computer screen were not like that at all. â??Of this be sure â?? I love you still, my cross your salvation from all the sin of man.â?It doesnâ??t get much more powerful than that. I may be incapable of loving the people of ISIS, ISIL, DAESH or whatever one calls them, but my God isnâ??t. He created them, he sent his Son to die for them â?¦ and he is even now ready to save them, as he is you and me. Thatâ??s grace.A small group of us sang this at a Good Friday united service in 2016. We sang it unannounced, at the end of the service, when one would have expected people to start getting up from their seats and leaving the church. Nobody did. Not one single person moved while we sang..
$3.00
"Clarinet Concert Concertino" for Wind Band based on music by A.E.Williams arranged by S.Davies
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Concert band
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INTERMEDIATE/ADVANCED
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A
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Stephen Davies
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"Clarinet Concert Concertino"
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Stephen Davies
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SheetMusicPlus
Concert Band - Level 4 - Digital Download SKU: A0.891956 Composed by A.E.Williams. Arranged by Stephen Davies. 20th Century,Standards. Score and Parts. 7...
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Concert Band - Level 4 - Digital Download SKU: A0.891956 Composed by A.E.Williams. Arranged by Stephen Davies. 20th Century,Standards. Score and Parts. 74 pages. Stephen Davies #6094485. Published by Stephen Davies (A0.891956).   CLARINET CONCERT CONCERTINO FOR WIND BAND I don’t normally enter long descriptions of my arrangements, nothing worse than seeing that little sign on the bottom right saying ‘see more’, however this piece has a rather interesting story that I’d like to share with you! It was maybe 8 or 9 years ago that I helped in the library of the Band Of The Guards Association, a group of musicians who were all members of the Household Division Bandsin London, that is to say the Grenadier, Coldstream, Scots, Irish, Welsh, Life Guards and Blues & Royals bands, chiefly known the world over for Changing The Guard at Buckingham Palace and many other ceremonial occasions. The Band Of The Guards Association were privileged to rehearse at the Royal Hospital Chelsea, home of the famous Chelsea Pensioners, renowned for their Redcoats and medals as veterans of the British Army. Our library of music for the band at the time was held in an air raid shelter deep in the cellars underneath the labyrinthine corridors of the old building built by Sir Christopher Wren back in the 1680’s. When I say ‘air raid shelter’, that is exactly what it was like! Can’t go into too much detail, but suffice it to say that it was like being transported back in time! But this is where the library was kept, complete with dusty shelves, blackout warnings, obsolete bulb replacements and tunnels to the Thames! The man in charge of the library was Mr.Gordon ‘Joe’ Stafford, former Solo Clarinet with HM Band Of The Welsh Guards (ret’d), a fine player of that instrument in his day, and revered as such even now. About 8 years ago, our ‘underground ‘ library was deemed a fire hazard, and we were ‘invited’ to move it elsewhere. As we had our practice room nearby in the Chelsea Hospital, we decided to relocate the whole library there, shelving being built and constructed by enthusiastic band members. Joe Stafford and myself were not particularly enthusiastic about this, but it had to be done. Having looked at the enormous amount of music to be moved, we thought about ditching some of the scores which would never be played again, for instance selections of musicals long forgotten, scores with multiple missing parts etc. Lots of that music went to local music organisations simply for sight reading purposes, and the more complete versions went to bands and orchestras to bolster their stock of scores. After the laborious sorting out in the air raid shelter, Joe and I had the unenviable task of discarding the scores and parts that were incomplete, defaced, or just basically useless. It was an arbitrary case of ‘keep or throw’, and at the time we were doing this, Joe was desperate for a pint in the bar! I agreed, and was anyway on my last batch of throwaways when I found a piece titled ‘Clarinet Concerto’, by A.E.Williams. Written in pencil, with ancient sellotape, and signed by all the people who played it many years ago, including the Soloist and composer, I thought that that should not be binned, so I kept it! Joe Stafford suggested that I should ‘get it out there’ , so I have. Incidentally it has a cracking Cadenza towards the end, it was a bit smudged in the original score, but I’ve filled in the gaps!! This would be an ideal addition to the band repertoire for Clarinet!
$49.99
A Storm is Gathering PVG
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Piano, Voice
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INTERMEDIATE
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Steven H
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Ashley Ivers
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A Storm is Gathering PVG
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Boothe Publishing
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.983990 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Christian,Pop. Score. 7 pages. Boot...
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.983990 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Christian,Pop. Score. 7 pages. Boothe Publishing #4360789. Published by Boothe Publishing (A0.983990). 1st Kings 19: Verses 11 & 12When Elijah the Prophet of God killed all the false prophets of King Ahab and Queen Jezebel, the Queen promised to kill him by sundown the next day. He fled for his life and ran for 40 days and 40 nights all the way to Mount Horeb, the mount of God. When he arrived, the Lord asked him what he was doing there. When he explained it to the Lord, the Lord told him to go stand out upon the mountain before Him. And behold the Lord passed by and a great and strong wind rent the mountains, and brake in pieces the rocks before the Lord; But the Lord was not in the wind: And after the wind an earthquake; But the Lord was not in the earthquake: And after the earthquake a fire; But the Lord was not in the fire: And after the fire a still small voice. God wasn't in the mighty wind. God wasn't in the terrible earthquake. God wasn't in the fire. God was the still small voice. That is where I can find Him still. That is what makes me responsible for my actions. I have the still small voice telling me what is right and what is wrong. It is called, the light of Christ. It is revelation from God. I can try to drown it out and pretend I don't hear it. However, pretending doesn't alter the fact that God's still small voice is always there for those who will listen.
$3.99
A Storm is Gathering Piano Vocal Performance
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Steven H
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Ashley Ivers
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A Storm is Gathering Piano Voc
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Boothe Publishing
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SheetMusicPlus
Piano,Voice - Digital Download SKU: A0.1069968 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Christian,Pop,Sacred. Full Performance. Duration 2...
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Piano,Voice - Digital Download SKU: A0.1069968 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Christian,Pop,Sacred. Full Performance. Duration 236. Boothe Publishing #4633697. Published by Boothe Publishing (A0.1069968). 1st Kings 19: Verses 11 & 12 When Elijah the Prophet of God killed all the false prophets of King Ahab and Queen Jezebel, the Queen promised to kill him by sundown the next day. He fled for his life and ran for 40 days and 40 nights all the way to Mount Horeb, the mount of God. When he arrived, the Lord asked him what he was doing there. When he explained it to the Lord, the Lord told him to go stand out upon the mountain before Him. And behold the Lord passed by and a great and strong wind rent the mountains, and brake in pieces the rocks before the Lord; But the Lord was not in the wind: And after the wind an earthquake; But the Lord was not in the earthquake: And after the earthquake a fire; But the Lord was not in the fire: And after the fire a still small voice. God wasn't in the mighty wind. God wasn't in the terrible earthquake. God wasn't in the fire. God was the still small voice. That is where I can find Him still. That is what makes me responsible for my actions. I have the still small voice telling me what is right and what is wrong. It is called, the light of Christ. It is revelation from God. I can try to drown it out and pretend I don't hear it. However, pretending doesn't alter the fact that God's still small voice is always there for those who will listen.
$1.99
A Storm is Gathering Piano Minus Vocal
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Piano solo
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Steven H
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Ashley Ivers
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A Storm is Gathering Piano Min
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Boothe Publishing
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SheetMusicPlus
Piano - Digital Download SKU: A0.1069947 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Christian,Pop,Sacred. Accompaniment. Duration 236. Booth...
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Piano - Digital Download SKU: A0.1069947 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Christian,Pop,Sacred. Accompaniment. Duration 236. Boothe Publishing #4632021. Published by Boothe Publishing (A0.1069947). 1st Kings 19: Verses 11 & 12 When Elijah the Prophet of God killed all the false prophets of King Ahab and Queen Jezebel, the Queen promised to kill him by sundown the next day. He fled for his life and ran for 40 days and 40 nights all the way to Mount Horeb, the mount of God. When he arrived, the Lord asked him what he was doing there. When he explained it to the Lord, the Lord told him to go stand out upon the mountain before Him. And behold the Lord passed by and a great and strong wind rent the mountains, and brake in pieces the rocks before the Lord; But the Lord was not in the wind: And after the wind an earthquake; But the Lord was not in the earthquake: And after the earthquake a fire; But the Lord was not in the fire: And after the fire a still small voice. God wasn't in the mighty wind. God wasn't in the terrible earthquake. God wasn't in the fire. God was the still small voice. That is where I can find Him still. That is what makes me responsible for my actions. I have the still small voice telling me what is right and what is wrong. It is called, the light of Christ. It is revelation from God. I can try to drown it out and pretend I don't hear it. However, pretending doesn't alter the fact that God's still small voice is always there for those who will listen.
$1.99
On That Cross (Piano part ONLY)
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Sacred music
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Stuart Richard Brown
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Stuart Richard Brown
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On That Cross
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Stuart Brown Music
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SheetMusicPlus
Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182872 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Chri...
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Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182872 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Christian,Easter,Praise & Worship,Religious,Sacred. 1 pages. Stuart Brown Music #782621. Published by Stuart Brown Music (A0.1182872). The accompanying score and a choral bundle are also available from this website.The composer writes: 'On That Cross' is a powerful reflection on the crucifixion of Jesus Christ. I came up with the lyrics at around 3am in the morning of 3rd December 2014 sitting at a desk in room 703 of the De Syloia Hotel in Hanoi, Vietnam. Often I find that my periods of working abroad give me the space to think of things in new ways. This song is a good example of that.One look at the first page of the score of 'On That Cross' is all you need to realize that this is not a case of a choir singing with a piano accompaniment. I put the piano part above the choir in order to dispel that misconception. So if it's not that, what is it? I wanted to demonstrate that it is possible to approach a subject from two completely different points of view, without either point of view being compromised by the other, and yet the result can nevertheless be a beautiful synergy. That is what the pianist and the choir are doing here. Each is meditating upon the cross of Christ, but from two totally unrelated points of view and yet somehow combining in a way that is almost hypnotically beautifully. There is little obvious relationship between the choir's and the piano's music; and yet each is reconciled to the other ... and there's a very good reason why I wanted the music to speak of such reconciliation.In late 2014 people in Iraq were being beheaded, crucified and generally killed in the most brutal and sadistic manner possible. Their only ‘crime’ was to dare to call themselves Christians. You can say what you like but in my book nobody has the right to tell anybody else what they should believe, much less murder them on religious grounds. The thing that incensed me almost to the point of incandescence was that the perpetrators of this unspeakable evil dared to justify their actions by claiming that they were acting on behalf of their god. So in such frame of mind I started to write the lyrics to 'On That Cross'.The first words that came into my mind were “Oh men who dare to call on gods to justify your hatred – of this be sure …†and I wanted to follow that with threats of eternal damnation, torture in hellfire and so on. Except that the words that flowed out of my fingers onto my computer screen were not like that at all. “Of this be sure – I love you still, my cross your salvation from all the sin of man.â€It doesn’t get much more powerful than that. I may be incapable of loving the people of ISIS, ISIL, DAESH or whatever one calls them, but my God isn’t. He created them, he sent his Son to die for them … and he is even now ready to save them, as he is you and me. That’s grace.A small group of us sang this at a Good Friday united service in 2016. We sang it unannounced, at the end of the service, when one would have expected people to start getting up from their seats and leaving the church. Nobody did. Not one single person moved while we sang..
$1.99
On That Cross (choir pack + piano part + licence)
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Sacred music
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Stuart Richard Brown
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Stuart Richard Brown
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On That Cross
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Stuart Brown Music
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SheetMusicPlus
Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182870 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Chri...
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Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182870 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Christian,Easter,Praise & Worship,Religious,Sacred. 14 pages. Stuart Brown Music #782619. Published by Stuart Brown Music (A0.1182870). The composer writes: 'On That Cross' is a powerful reflection on the crucifixion of Jesus Christ. I came up with the lyrics at around 3am in the morning of 3rd December 2014 sitting at a desk in room 703 of the De Syloia Hotel in Hanoi, Vietnam. Often I find that my periods of working abroad give me the space to think of things in new ways. This song is a good example of that.One look at the first page of the score of 'On That Cross' is all you need to realize that this is not a case of a choir singing with a piano accompaniment. I put the piano part above the choir in order to dispel that misconception. So if it's not that, what is it? I wanted to demonstrate that it is possible to approach a subject from two completely different points of view, without either point of view being compromised by the other, and yet the result can nevertheless be a beautiful synergy. That is what the pianist and the choir are doing here. Each is meditating upon the cross of Christ, but from two totally unrelated points of view and yet somehow combining in a way that is almost hypnotically beautifully. There is little obvious relationship between the choir's and the piano's music; and yet each is reconciled to the other ... and there's a very good reason why I wanted the music to speak of such reconciliation.In late 2014 people in Iraq were being beheaded, crucified and generally killed in the most brutal and sadistic manner possible. Their only ‘crime’ was to dare to call themselves Christians. You can say what you like but in my book nobody has the right to tell anybody else what they should believe, much less murder them on religious grounds. The thing that incensed me almost to the point of incandescence was that the perpetrators of this unspeakable evil dared to justify their actions by claiming that they were acting on behalf of their god. So in such frame of mind I started to write the lyrics to 'On That Cross'.The first words that came into my mind were “Oh men who dare to call on gods to justify your hatred – of this be sure …†and I wanted to follow that with threats of eternal damnation, torture in hellfire and so on. Except that the words that flowed out of my fingers onto my computer screen were not like that at all. “Of this be sure – I love you still, my cross your salvation from all the sin of man.â€It doesn’t get much more powerful than that. I may be incapable of loving the people of ISIS, ISIL, DAESH or whatever one calls them, but my God isn’t. He created them, he sent his Son to die for them … and he is even now ready to save them, as he is you and me. That’s grace.A small group of us sang this at a Good Friday united service in 2016. We sang it unannounced, at the end of the service, when one would have expected people to start getting up from their seats and leaving the church. Nobody did. Not one single person moved while we sang..
$16.00
Calibrating the Moon - Tuba and Piano
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Tuba and Piano
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ADVANCED
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Contemporary
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Kyle Vanderburg
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Calibrating the Moon - Tuba an
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NoteForge
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SheetMusicPlus
Piano,Tuba - Level 5 - Digital Download SKU: A0.1002836 Composed by Kyle Vanderburg. Contemporary. Score and part. 33 pages. NoteForge #6113517. Publishe...
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Piano,Tuba - Level 5 - Digital Download SKU: A0.1002836 Composed by Kyle Vanderburg. Contemporary. Score and part. 33 pages. NoteForge #6113517. Published by NoteForge (A0.1002836). I spent New Year's Eve 2018 in Nye, Montana, visiting family and friends. One of those friends is an imaging specialist who regaled us with an explanation of his most recent project, which he described as calibrating the moon. Specifically, he was talking about the NASA ARCSTONE mission to calibrate the moon's reflectance to use as an accurate reference, primarily in climate science. The idea is that we have all this data about global warming and atmospheric changes, and a lot of that data uses the brightness of the moon as a control variable, but we don't actually have a precise definition of how bright the moon is. Ever since I was a part of that conversation, I knew that I wanted calibrating the moon as a title, and everything that came after that plays with the idea of moon themes or of doing big impossible-sounding things. When Connor Challey approached me about writing for tuba, Calibrating the Moon was an obvious choice.The work opens with Syzygy, a term describing the straight line between the sun, moon, and Earth that occurs every new and full moon. The movement starts dark and brooding, moves to an energetic middle section, and returns to being mysterious, kind of like a lunar cycle. Fun fact: This movement's theme is actually a tuba setting of the phrase Calibrating the moon.The Second movement, Spectral Reflectance, is slow and shiny. NDSU was fortunate to have portfolio tubist (and Connor's mentor) Sam Pilafian as a visiting guest artist for several years, and I finished Syzygy around the time of his passing. I spent a lot of time thinking about Sam while putting the second movement together, and I quoted a couple of his favorite tuba concerti.The work ends with Libration. If you were to watch a time-lapse video of a lunar cycle, you'd notice that the moon not only transitions from new to full to new, but also sort of oscillates or wags. That's Libration. The movement is likewise off-kilter, playing with the listener's sense of time through alternating time signatures.https://kylevanderburg.com/music/calibrating-the-moon/
$14.99
If You Could Go Back Piano Vocal Performance
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Pop music
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Steven H
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Ashley Ivers
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If You Could Go Back Piano Voc
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Boothe Publishing
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SheetMusicPlus
Piano,Voice - Digital Download SKU: A0.1069977 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Pop. Full Performance. Duration 184. Boothe Publis...
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Piano,Voice - Digital Download SKU: A0.1069977 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Pop. Full Performance. Duration 184. Boothe Publishing #4633725. Published by Boothe Publishing (A0.1069977). Most of the mistakes I made in life were between the ages of 12-16 years. Somehow I felt that I was smarter than I was. I thought that my friends were smarter than they were. I felt invincible. I made many foolish mistakes during those years. About that time, my family was preparing to move from Oregon to Utah. I remember my mother talking with me and saying that I could start over again. We would be in a new place with new people. No one would know me. I could be the person I truly wanted to be. I thought about this a lot, and when we finally made the move I had decided what kind of person I really wanted to be. In fact, I felt bad for being the wrong kind of person and hurting other people physically and spiritually. I eventually felt so bad about my mistakes that I decided that I would write or call the people I had hurt and apologize to them. Over the period of a year I was able to find, call and apologize to each of them. To my great surprise none of them were still angry with me. I was forgiven. That was a great feeling. This day will be forever what you choose. Once you leave this life you won't be able to return and right any wrongs that you have committed. So when you make a mistake, choose to make it right today so that this day, this day of good choosing will be what will last forever. Never let yourself do something that you know inside is wrong. If your friends are trying to talk you into doing something you know is wrong, don't just sit there and listen to them. Get up and leave the room, or the party, or the situation. Be true. Be the one. Be the son or daughter of God. Do what He would do.
$1.99
If You Could Go Back Guitar Vocal Performance
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Rock
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Steven H
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If You Could Go Back Guitar Vo
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Boothe Publishing
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SheetMusicPlus
Bass Guitar,Voice - Digital Download SKU: A0.1069976 Composed by Steven H. Boothe. Pop,Rock. Full Performance. Duration 187. Boothe Publishing #4633723. ...
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Bass Guitar,Voice - Digital Download SKU: A0.1069976 Composed by Steven H. Boothe. Pop,Rock. Full Performance. Duration 187. Boothe Publishing #4633723. Published by Boothe Publishing (A0.1069976). Most of the mistakes I made in life were between the ages of 12-16 years. Somehow I felt that I was smarter than I was. I thought that my friends were smarter than they were. I felt invincible. I made many foolish mistakes during those years. About that time, my family was preparing to move from Oregon to Utah. I remember my mother talking with me and saying that I could start over again. We would be in a new place with new people. No one would know me. I could be the person I truly wanted to be. I thought about this a lot, and when we finally made the move I had decided what kind of person I really wanted to be. In fact, I felt bad for being the wrong kind of person and hurting other people physically and spiritually. I eventually felt so bad about my mistakes that I decided that I would write or call the people I had hurt and apologize to them. Over the period of a year I was able to find, call and apologize to each of them. To my great surprise none of them were still angry with me. I was forgiven. That was a great feeling. This day will be forever what you choose. Once you leave this life you won't be able to return and right any wrongs that you have committed. So when you make a mistake, choose to make it right today so that this day, this day of good choosing will be what will last forever. Never let yourself do something that you know inside is wrong. If your friends are trying to talk you into doing something you know is wrong, don't just sit there and listen to them. Get up and leave the room, or the party, or the situation. Be true. Be the one. Be the son or daughter of God. Do what He would do.
$1.99
If You Could Go Back Piano Minus Vocal
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Piano solo
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Rock
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Steven H
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Ashley Ivers
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If You Could Go Back Piano Min
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Boothe Publishing
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SheetMusicPlus
Piano - Digital Download SKU: A0.1069959 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Pop,Rock. Accompaniment. Duration 184. Boothe Publishing...
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Piano - Digital Download SKU: A0.1069959 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Pop,Rock. Accompaniment. Duration 184. Boothe Publishing #4633665. Published by Boothe Publishing (A0.1069959). Most of the mistakes I made in life were between the ages of 12-16 years. Somehow I felt that I was smarter than I was. I thought that my friends were smarter than they were. I felt invincible. I made many foolish mistakes during those years. About that time, my family was preparing to move from Oregon to Utah. I remember my mother talking with me and saying that I could start over again. We would be in a new place with new people. No one would know me. I could be the person I truly wanted to be. I thought about this a lot, and when we finally made the move I had decided what kind of person I really wanted to be. In fact, I felt bad for being the wrong kind of person and hurting other people physically and spiritually. I eventually felt so bad about my mistakes that I decided that I would write or call the people I had hurt and apologize to them. Over the period of a year I was able to find, call and apologize to each of them. To my great surprise none of them were still angry with me. I was forgiven. That was a great feeling. This day will be forever what you choose. Once you leave this life you won't be able to return and right any wrongs that you have committed. So when you make a mistake, choose to make it right today so that this day, this day of good choosing will be what will last forever. Never let yourself do something that you know inside is wrong. If your friends are trying to talk you into doing something you know is wrong, don't just sit there and listen to them. Get up and leave the room, or the party, or the situation. Be true. Be the one. Be the son or daughter of God. Do what He would do.
$1.99
Day In Day Out
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Piano, Vocal and Guitar
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Diana Krall
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Day In Day Out
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Piano/Vocal/Chords - Digital Download SKU: AX.00-XS-0000058 By Diana Krall. By Johnny Mercer and Rube Bloom. Standard. 11 pages. Alfred Music - Digital S...
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Piano/Vocal/Chords - Digital Download SKU: AX.00-XS-0000058 By Diana Krall. By Johnny Mercer and Rube Bloom. Standard. 11 pages. Alfred Music - Digital Sheet Music #00-XS-0000058. Published by Alfred Music - Digital Sheet Music (AX.00-XS-0000058). ISBN 9780739057995. UPC: 038081349121.Canadian jazz pianist and vocalist, Diana Krall released her tenth album From This Moment On to chart-topping success in 2006. Now you can enjoy playing this album in your own home. This album-matching folio is professionally arranged for Piano/Vocal/Chords. Titles: Come Dance with Me * Day In, Day Out * Exactly Like You * From This Moment On * How Insensitive * I Was Doing Alright * Isn't This a Lovely Day * It Could Happen to You * It Was a Beautiful Day in August / You Can Depend on Me * Little Girl Blue * Willow Weep for Me.
$3.99
I Was Doing All Right
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Piano, Vocal and Guitar
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Jazz
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Ira Gershwin, George Gershwin,
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Jazz
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I Was Doing All Right
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Ira Gershwin, George Gershwin, and George and Ira Gershwin. For Piano/Vocal/Guitar (chords only). Broadway; Jazz; Standards. Piano/Vocal/Guitar (chords only)...
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By Ira Gershwin, George Gershwin, and George and Ira Gershwin. For Piano/Vocal/Guitar (chords only). Broadway; Jazz; Standards. Piano/Vocal/Guitar (chords only). 4 pages. Published by Hal Leonard - Digital Sheet Music
$4.99
I Was Doing All Right
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Melody line, (Lyrics) and Chords
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George Gershwin
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I Was Doing All Right
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Composed by George Gershwin (1898-1937) and Ira Gershwin. For Lead Sheet. Standard. 2 pages. Published by Alfred Music - Digital Sheet Music ...
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Composed by George Gershwin (1898-1937) and Ira Gershwin. For Lead Sheet. Standard. 2 pages. Published by Alfred Music - Digital Sheet Music
$1.99
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