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If There Was No You
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If There Was No You
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476
Waltz Op 69 No 2 (Arranged for Guitar)
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Guitar notes and tablatures
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INTERMEDIATE
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Classical
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Frederic Chopin
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Brian Streckfus
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Waltz Op 69 No 2
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Brian Streckfus
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SheetMusicPlus
Guitar - Level 3 - Digital Download SKU: A0.1177383 By Frederic Chopin. By FreÌdeÌric Chopin. Arranged by Brian Streckfus. 19th Century,Classical,C...
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Guitar - Level 3 - Digital Download SKU: A0.1177383 By Frederic Chopin. By FreÌdeÌric Chopin. Arranged by Brian Streckfus. 19th Century,Classical,Contemporary,Instructional,Romantic Period. Guitar Tab. 6 pages. Brian Streckfus #776814. Published by Brian Streckfus (A0.1177383). Key: Changed from B minor to A minorCapo: 2 (If you want original key, but I wasn't a fan of capo 2; it felt like there was no bass notes.)1. Arranged for guitar. 2. Piano pedal markings removed 3. Phrase markings removed and opted for commas. 4. Re-harmonized 5. Key changed from B minor to A minor. 6. Slurs 7. Left hand fingers 8. Tablature9. Harmonics added when advantageous, but playing the regular note would work as well.10. Piano pedal markings removed and replaced with commas. It's a flaw of sheet music that slurs, ties, and phrase markings are all the same symbol, and having all three happening can clutter a score.Compromises This may sound obvious, but of course I had to make some alterations to make this flow properly on guitar. Many of the original chord inversions on the piano were not kept. However, many harmonies were kept intact as far as following the chord nomenclature name. Measure 50 was originally an A minor chord, the irony is that the F major suprise is an homage to Chopin anyways, suprised he didn't opt for it. To be honest, I don't like how there is a perfect authentic cadence in measure 50. I think modern audiences would want to clap too badly, so I believe that ending needs to be slightly messed up to propel the music forward, and give a sense that there is still a problem. The other chord that was changed was an E7b9 to a Ddim7 in measure 78. If you know your theory well, you'll realize these chords have the same exact function and nearly the same notes, it's just that Ddim7 flowed a bit better on guitar. I'd rather have guitarists play the rhythms correctly and with musicality, than have guitarist clunkily go though overly large chords in order to mantain historical accuracy. Measure 15 was hard to keep the original chord intact. A Bb/D with a G in the melody as a suspension sounds more like a g minor chord. That is cliche Chopinesque neopolitan moment so the Bb is crucial to mantain. Having some rough sort of Bbmaj7 or G minor chord while mantaining the melody seemed to sound the best even though the name of the chord might have gotten a little off. I tried chord charts, but they seemed messier than what it was worth. I also could have the denser tablature in the sheet music, but that does make it look 10x more intimidating. So this version is unique in that the tablature is my denser arrangement, whereas the sheet music would allow someone to quickly make a new arrangement. I like this ethos because most guitarists are likely to be much better at playing chord quickly when they don't have to have an exact voicing. This makes this arrangement easier to further perfect since I am naming the harmonies, which often isn't done in classical music.BackstoryThis is one of my favorite pieces, and also my favorite composer. I feel classical guitar repertoire is lacking easily playable music in the romantic style. Often, if it is romantic guitar music, it is extemely difficult and therefore only a select few can enjoy performing it. Also, I sometimes get my hopes up to find a romantic guitar composer, but then after listening, there's nothing quite like Chopin. Obviously, you will have to have some chops to play this since it's one of the most ambitious undertakings a guitarist could take, but it's also not so hard that you have to be train for a decade because I changed the key.
$1.99
Do As You Will
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Choral SSAA
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INTERMEDIATE/ADVANCED
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Alan Wagstaff
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Alan Wagstaff
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Do As You Will
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Alan Wagstaff
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SheetMusicPlus
Choral Choir (SSAA) - Level 4 - Digital Download SKU: A0.1040536 By Alan Wagstaff. By Alan Wagstaff. Arranged by Alan Wagstaff. Celtic,Folk,Irish,Traditi...
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Choral Choir (SSAA) - Level 4 - Digital Download SKU: A0.1040536 By Alan Wagstaff. By Alan Wagstaff. Arranged by Alan Wagstaff. Celtic,Folk,Irish,Traditional. Octavo. 45 pages. Alan Wagstaff #639233. Published by Alan Wagstaff (A0.1040536). 'Do As You Will' is a folksy, Celtic feel choral song arranged for SSAA -with harp, flute, fiddle, and accordion accompaniment. Its shifting tonality adds complexity. The lyric is female point of view: Do As You Will Once I had a soldier lad who swore he’d love me truly. Ah! But now those days are gone! When the battle raged he turned his heel and followed duly. I gave him the salute and soldiered on. The wind’s about the barley and the mice are in the meal, so rise up bright and early all young lasses if you would do as you will. Then I loved a farmer’s son whose trinkets were his kisses. Ah! But now those days are gone! But on the road to market he had scores of narrow misses. I tossed him out for chaff and ploughed straight on. The wind’s about the barley and the mice are in the meal, so rise up bright and early all young lasses if you would do as you will. Next I had a blacksmith who was swarthy, dark, and handsome. Ah! But now those days are gone! He stole away my store of coin and ran off with the ransom. I hope he finds the fires! I’m forging on! The wind’s about the barley and the mice are in the meal, so rise up bright and early all young lasses if you would do as you will. Jack the Tinker courted me, and he was ever willing. Ah! But now those days are gone! Everywhere he plied his trade he fell to Jack and Jilling. I rattled his old pans and wandered on. The wind’s about the barley and the mice are in the meal, so rise up bright and early all young lasses if you would do as you will. There’s no faith in any man, not even my own brother. Ah! But would those days were gone! Girls, if you but would, or can, you’d best love one another and leave them all behind and carry on! The wind’s about the barley and the mice are in the meal, so rise up bright and early all young lasses if you would do as you will.
$20.00
In Christ There Is No East or West
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Piano, Vocal and Guitar
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INTERMEDIATE
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Sacred music
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Various
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Lyndell Leatherman
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some was not
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In Christ There Is No East or
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Leatherman Music Services
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1222735 By Various. By Words: John Oxenham / Music: Alexander R. Reinagle. Arranged by Lynd...
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1222735 By Various. By Words: John Oxenham / Music: Alexander R. Reinagle. Arranged by Lyndell Leatherman. Christian,Religious,Sacred. Score. 2 pages. Leatherman Music Services #819011. Published by Leatherman Music Services (A0.1222735). Welcome to this entry in the Leatherman Library of Christian Hymnody (LLOCH).Features of the series include:•Intermediate 2-page arrangements suitable as either piano or organ solos.•Chord symbols included as a service to guitarists.•Lyrics included (and occasionally updated) to facilitate congregational singing or vocal solo.•Hymn background information included for personal edification or use as printed program notes.•Optional repeats which allow you to fit into the allotted time available in a service.•An introduction and/or tag in many cases, often incorporating a classical excerpt or related hymn fragment.If you like this format, you may be interested in a published volume of 75 similar arrangements: BEST-LOVED HYMNS I  (© FJH Music, distributed by Alfred Music).************It has long been my passion and privilege to create customized arrangements for the churches and schools with whom I have been associated. Much was published; some was not. During the 2020 slowdown caused by Covid-19, I finally had the time to start posting the unpublished resources on Sheet Music Plus. If you are curious about what else is available, please navigate to my publisher page here on SMP < https://www.sheetmusicplus.com/publishers/leatherman-music-services/16718 >  or slip over to Facebook < https://www.facebook.com/leathermanmusicservices >, where you can see and hear many of my published works. Thanks for your interest!   God bless!Lyndell Leatherman, ASCAP.
$2.99
Piano Sonata No. 1 Movement 3 "Reflection of Passing"
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Piano, Voice
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INTERMEDIATE
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Samuel Warren Hatch
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Piano Sonata No. 1 Movement 3
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Samuel Warren Hatch
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1025435 Composed by Samuel Warren Hatch. 20th Century,Contemporary,Jazz. Score. 9 pages. Samuel Wa...
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1025435 Composed by Samuel Warren Hatch. 20th Century,Contemporary,Jazz. Score. 9 pages. Samuel Warren Hatch #4764165. Published by Samuel Warren Hatch (A0.1025435). Piano Sonata No. 1 in E Major is the first series of concert piano works by S. Warren Hatch, written during his undergraduate study at Campbell University. Each movement is distinct, in that each of them is composed in a different form, utilizes different key changes and scales, and takes influence from a different period in classical music. While there is no theme that connects them to one another, they are all in the key of E Major and consist mostly of a waltz-like feeling. III. A Reflection of Passing depicts the shifting aspects about death as a person matures. It’s a piece that came from a time of great loss and much grieving. It begins with an innocent, hopeful understanding of death, followed by a major tone shift, where there is an odd utilization of the piano: the performer sings into the piano while holding down the sustain pedal, which vibrates certain overtones, producing what sounds like a distant choir. The piece closes with a triumphant, hopeful melody, borrowed from a song written by S. Warren Hatch when he was in high school.Composer Notes- Be sure to ensure that the stage hands lift the piano lid before the sonata’s start, as the strings will need to be exposed in order for you to sing into the piano’s body during A Reflection of Passing. For that section (page 22) you will need to face and sing directly into the strings while holding down the sustain pedal for the entire page. If you are playing with the sheet music (don’t worry, I’m not shaming you) simply slide the music holder in order to expose the part of the strings that are closest to you. For this sonata, I encourage you to find your own voice in these pieces. Your own interpretation should align with how you most relate to the message/story they’re telling. This could be using the una corda (leftmost) pedal during lighter sections to further differentiate them, or having a heavier rubato to strengthen the impact of certain phrases. As long as you bring these pieces to life, then it has my stamp of approval.
$3.99
Nice Work If You Can Get It
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Piano, Vocal and Guitar
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INTERMEDIATE/ADVANCED
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Frank Sinatra
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John Fries
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Nice Work If You Can Get It
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John Fries
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1202384 By Frank Sinatra. By George Gershwin and Ira Gershwin. Arranged by John Fries. 20th...
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Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1202384 By Frank Sinatra. By George Gershwin and Ira Gershwin. Arranged by John Fries. 20th Century,Broadway,Jazz,Musical/Show,Pop,Standards. Score. 1 pages. John Fries #801075. Published by John Fries (A0.1202384). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. Thanks, John.  This song began life in 1930 as a nine-bar phrase with the working title There's No Stopping Me Now.  Its title phrase Nice work if you can get it came from an English magazine.  It was one of nine songs the Gershwin brothers wrote for the movie A Damsel in Distress in which it was performed by Fred Astaire with backing vocals by The Stafford Sisters.  The song was published in 1937.  The first jazz recording of the work was by Tommy Dorsey three weeks after the release of the film.  The song was recorded by many jazz singers and adopted by bebop instrumentalists; Jerry Newman recorded pianist Thelonious Monk performing the tune in 1941 at Minton's Playhouse, a nightclub closely connected with early bebop, and he subsequently recorded it several times.
$4.99
Nice Work If You Can Get It
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Choral SATB
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INTERMEDIATE/ADVANCED
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Contemporary
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Broadway
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Frank Sinatra
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John Fries
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Nice Work If You Can Get It
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John Fries
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1228242 By Frank Sinatra. By George Gershwin and Ira Gershwin. Arranged by John Fries. 20...
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Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1228242 By Frank Sinatra. By George Gershwin and Ira Gershwin. Arranged by John Fries. 20th Century. 4 pages. John Fries #824360. Published by John Fries (A0.1228242). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Thanks, John.  This song began life in 1930 as a nine-bar phrase with the working title There's No Stopping Me Now.  Its title phrase Nice work if you can get it came from an English magazine.  It was one of nine songs the Gershwin brothers wrote for the movie A Damsel in Distress in which it was performed by Fred Astaire with backing vocals by The Stafford Sisters.  The song was published in 1937.  The first jazz recording of the work was by Tommy Dorsey three weeks after the release of the film.  The song was recorded by many jazz singers and adopted by bebop instrumentalists; Jerry Newman recorded pianist Thelonious Monk performing the tune in 1941 at Minton's Playhouse, a nightclub closely connected with early bebop, and he subsequently recorded it several times.
$1.99
Lord of All Our Days (Funeral Hymn) Backup Track (No Vocals)
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Sacred music
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Stacey Plays Hymns
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Anastace
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Lord of All Our Days
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Anastace
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SheetMusicPlus
Piano Accompaniment - Level 2 - Digital Download SKU: A0.1477614 By Stacey Plays Hymns. By Stacey Plays Hymns. Arranged by Anastace. Christian,Praise & W...
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Piano Accompaniment - Level 2 - Digital Download SKU: A0.1477614 By Stacey Plays Hymns. By Stacey Plays Hymns. Arranged by Anastace. Christian,Praise & Worship,Religious,Sacred. Accompaniment. Duration 235. Anastace #1054994. Published by Anastace (A0.1477614). As of this publishing, over 140,000 people have found my one video collection of funeral hymns on YouTube, not including separate postings of each individual song. Because of this it's been on my mind for a long time to write a funeral song, but it was somehow just never the right time until just a few weeks ago when this one came pouring out in 5 minutes flat [which does not happen often, I can assure you!]. The culmination of years of playing for funerals, a bachelor degree in theology and sacred music, and many more years of writing and playing music through good times and also times full of grief, Lord of All Our Days is my very best and heartfelt attempt to serve those who are also dealing with the absolute heartache of loss, be it the acute, fresh grieving of just losing someone or the flashbacks that come time and time again, years and even decades later.This song carefully and tenderly handles the true earth-shaking grief that it is to lose someone you love, while holding out a strong hope of the life to come for those who trust God. I had a very difficult time recording it without being moved to tears over and over, and I pray it will reach many in need of comfort, being of service to anyone who is looking for a Christian, Biblical funeral hymn for a memorial service or a celebration of life service. Also available, by searching Stacey Plays Hymns and the song title on this site, is an accompaniment track with the full backup vocals as well as the following sheet music versions:Piano Vocal in Bb Minor to match the original recording [vocal range: Bb3-Bb4]Piano Vocal in C Major for easier playing and a better congregational vocal rangeLead Sheet for piano or guitar in C Major - best key for singing without a capoLead Sheet in G minor for piano or guitar [play capo 3 or more to match the original key]For other formats including large print, a different key to match a soloist's preferred range, or piano solo for a matching prelude or postlude, please write me at staceyplayshymns@gmail.com and I'll be glad to make them especially for you. Purchase includes a free license for one funeral or memorial service with under 1000 people, with proper attribution and credit in all printed or online materials. For a license to use this work on a larger scale, please contact me for permission and other usage details including lyrics formatted for printing in church bulletins or for powerpoint. Please let me know if there is any other way I can serve you as a congregation or fellow music/choir director as I endeavour to write several new choral anthems per year, along with my other recording work.Thank you for supporting modern hymnwriters and musicians!
$3.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestra
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Classical
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady...
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Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
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Orchestra
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Classical
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady...
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Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Orchestra
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Classical
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady...
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Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
No Tears Left To Cry
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Choral SATB
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EASY
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Ariana Grande
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Andrew Montano
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No Tears Left To Cry
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Andrew Montano
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus divisi - Level 2 - Digital Download SKU: A0.1517275 By Ariana Grande. By Ariana Grande, Ilya, Max Martin, and Savan Kotec...
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Choral Choir,Choral,SATB Chorus divisi - Level 2 - Digital Download SKU: A0.1517275 By Ariana Grande. By Ariana Grande, Ilya, Max Martin, and Savan Kotecha. Arranged by Andrew Montano. A Cappella,Pop. 14 pages. Andrew Montano #1091453. Published by Andrew Montano (A0.1517275). 9-Part DivisiSolo 1 (Alto/Mezzo)Solo 2 (Mezzo/Soprano)SSA (3-Part split)TenorBaritone Bass (2-Part Split)On May 22, 2017, in Manchester, England, Ariana Grande performed at the Manchester Arena with an estimated gathering of 14,000 people. At 10:31 p.m., as fans began leaving the concert through the City Room, an explosion detonated leaving thousands injured and twenty-three dead, including the suicide bomber.Grande was devastated from the trauma and took a hiatus from performing. She felt responsible protecting her fans and was ashamed she couldn't prevent the attack.Upon breaking her silence, Grande announced her new single, No Tears Left to Cry, accompanied with album art of Grande's side profile, upside-down text, and a streak of rainbow across her eye. If there are stormy skies, then there's a chance a rainbow will appear. Rainbows symbolize hope and optimism, which explains why the rainbow can be found near her eye.In the music video, Grande travels around locations in various camera angles, which disorients the viewer and gives no indication where the solid ground is. Video director Dave Meyers explains, We sort of explore the ambiguity of whether we need to find the ground or the ground is just what you make of it. It relates to the optimism in her song.This song is a reflection of the past and coming out stronger than before. Throughout life, there are many moments we may experience such as grief, trauma, abuse, neglect, etc. We all have our own personal struggles, and No Tears Left to Cry promotes a self-uplift that things do and will get better.
$4.99
Nice Work If You Can Get It
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C Instruments
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INTERMEDIATE/ADVANCED
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Frank Sinatra
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John Fries
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Nice Work If You Can Get It
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John Fries
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SheetMusicPlus
C Instrument - Level 4 - Digital Download SKU: A0.1191928 By Frank Sinatra. By George Gershwin and Ira Gershwin. Arranged by John Fries. 20th Century,Bro...
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C Instrument - Level 4 - Digital Download SKU: A0.1191928 By Frank Sinatra. By George Gershwin and Ira Gershwin. Arranged by John Fries. 20th Century,Broadway,Jazz,Musical/Show,Standards. Lead Sheet / Fake Book. 1 pages. John Fries #791437. Published by John Fries (A0.1191928). TYPE JOHN FRIES IN THE SEARCH BAR TO SEE ALL I HAVE TO OFFER. Thanks, John. This song began life in 1930 as a nine-bar phrase with the working title There's No Stopping Me Now. Its title phrase Nice work if you can get it came from an English magazine. It was one of nine songs the Gershwin brothers wrote for the movie A Damsel in Distress in which it was performed by Fred Astaire with backing vocals by The Stafford Sisters. The song was published in 1937. The first jazz recording of the work was by Tommy Dorsey three weeks after the release of the film. The song was recorded by many jazz singers and adopted by bebop instrumentalists; Jerry Newman recorded pianist Thelonious Monk performing the tune in 1941 at Minton's Playhouse, a nightclub closely connected with early bebop, and he subsequently recorded it several times.
$3.99
Serenade for Flute, Violin, and Guitar, no. 1, op. 5, 2006
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John Pinno
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Serenade for Flute, Violin, an
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John Pinno
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SheetMusicPlus
Small Ensemble Flute,Guitar,Violin - Level 5 - Digital Download SKU: A0.775405 Composed by John Pinno. Concert,Contemporary. Score and parts. 49 pages. J...
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Small Ensemble Flute,Guitar,Violin - Level 5 - Digital Download SKU: A0.775405 Composed by John Pinno. Concert,Contemporary. Score and parts. 49 pages. John Pinno #2157925. Published by John Pinno (A0.775405). This is an original composition, in three movements, for flute, violin, and classical guitar, composed in 2006. This piece comes with full score, plus separate parts for flute, violin, and guitar. In 2005 I was asked to play in a chamber music performance, with a flautist and violinist, and was surprised to see how little published music there was for this combination....lots for flute , viola, and guitar, but not much with a violin in the mix. The few works I did find were written when composers felt that the guitar should sit in the background and play endless arpeggios, completely devoid of any melodic interest. This Serenade of mine aims to correct that problem. Timing: movement I ~ 3:30, II ~ 5:15, III ~ 3:15 This works very well as part of a classical guitar recital, when it's desirable to add a chamber work. If you have any questions, comments, or concerns about this work, or would like to hear a performance of this, please contact me at email: jpinno093@hotmail.com. Please also check out some of my other arrangements on Sheet Music Plus for classical guitar solo, and also duos for guitar with flute or voice : http://www.sheetmusicplus.com/publishers/john-pinno-sheet-music/3002745
$35.00
Missionary Medley: Called to Serve, Let Us All Press On, Put Your Shoulder to the Wheel (Soprano & T
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Choral SATB
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EASY
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Sacred music
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Gospel/Spiritual
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Adam Geibel, Evan Stephens, Gr
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Stacey Oakes
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Missionary Medley: Called to S
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Stacey Oakes at Whiting Publishing
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SheetMusicPlus
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.1033403 Composed by Adam Geibel, Evan Stephens, Grace Gordon, and Will L. Thompson. Arranged by ...
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.1033403 Composed by Adam Geibel, Evan Stephens, Grace Gordon, and Will L. Thompson. Arranged by Stacey Oakes. Christian,Gospel,Sacred,Spiritual. Octavo. 12 pages. Stacey Oakes at Whiting Publishing #3878753. Published by Stacey Oakes at Whiting Publishing (A0.1033403). Good for Missionary or Youth Musical Numbers - Soprano/Tenor or Men/Women Choirs This medley was written upon request for a missionary's send-off! It's great for: - Church Services - Missionary Farewells and Homecomings - Firesides - Youth Choirs - Adult Choirs - Soprano and Tenor Duet Purpose/Message: The medley's purpose is to invigorate us and to encourage us to be brave in sharing truth. It emphasizes the concepts of pressing on, having courage, and not fearing. Difficulty: Medium (There are some independent singing sections, some notes at the top of the soprano and tenor range, and a couple spots with less typical harmonies. It is, however, not a difficult piece overall. Those who are accustomed to singing in choirs will have no trouble but will be challenged enough to enjoy the piece.) Range: The notes are within range for a somewhat experienced or serious singer. If using in a choir, you can have the higher notes sung one octave lower by those out of range, or add a harmonic note as needed. There are only a couple of instances where this might be needed. Solutions to Problems: If you have youth afraid to go on missions, this song will help them take courage and be brave. If you have adults who are faltering from fear (as all do on occasion), it is hoped this song will bolster their courage and resolve. Duration of Work: This medley is approximately 4:12 minutes long. Performing Rights Organization: The composer is a member of BMI. Contact Information: You can contact the composer through MyMusicStash.blogspot.com. Some of her works are also posted on Instagram @LDSSheetMusic Called to Serve: Grace Gordon, Adam Geibel; Let Us All Press On: Evan Stephens; Put Your Shoulder to the Wheel: Will L. Thompson.
$3.99
All I Want For Christmas Is You
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String Quartet: 2 violins, viola, cello
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Christmas
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Lady Antebellum
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Rebecca Willson
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All I Want For Christmas Is Yo
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Rebecca Willson
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Digital Download SKU: A0.961585 By Lady Antebellum. By Mariah Carey and Walter Afanasieff. Arranged by...
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String Quartet Cello,String Quartet,Viola,Violin - Digital Download SKU: A0.961585 By Lady Antebellum. By Mariah Carey and Walter Afanasieff. Arranged by Rebecca Willson. Contemporary. Score and parts. 10 pages. Rebecca Willson #6596433. Published by Rebecca Willson (A0.961585). This easy string quartet arrangement was written for a group of pupils. A lot of existing pop arrangements are rhythmically too hard without lots of practice. I put this arrangement together with the aim that it would need very little rehearsal. There is no introduction. The melody stays in Violin 1, some rhythms have been simplified. Violin 2, Viola and Cello mostly play long notes or are in rhythmic unison. It would also sounds great with the addition of some sleigh bells!I am a string player and teacher. My arrangements are all made for my students or professional string quartet. Please get in touch if you'd like me to post any variations on instrumentation.www.obligatostringquartet.com
$12.99
Piano Trio No. 1 "Poets and Prophets" (piano score - pno, vln, cel)
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Mark O'Connor
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Johnny Cash
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Piano Trio No. 1 "Poets and Pr
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Mark O'Connor Musik International
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SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861898 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 55 pag...
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Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861898 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 55 pages. Mark O'Connor Musik International #6206157. Published by Mark O'Connor Musik International (A0.861898). Piano Trio No. 1 Poets and Prophets (piano score – piano, vln, cel) MO160APiano Score (parts available)Music by Mark O’Connor51 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO160A
$22.50
Piano Trio No. 1 "Poets and Prophets" (violin part - pno, vln, cel)
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Mark O'Connor
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Johnny Cash
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Piano Trio No. 1 "Poets and Pr
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Mark O'Connor Musik International
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SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861899 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 23 pag...
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Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861899 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 23 pages. Mark O'Connor Musik International #6206159. Published by Mark O'Connor Musik International (A0.861899). Piano Trio No. 1 Poets and Prophets (violin part – piano, vln, cel) MO160BViolin Part (score and parts available)Music by Mark O’Connor20 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number MO160.
$15.00
Piano Trio No. 1 "Poets and Prophets" (cello part - pno, vln, cel)
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Mark O'Connor
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Johnny Cash
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Piano Trio No. 1 "Poets and Pr
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Mark O'Connor Musik International
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SheetMusicPlus
Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861901 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 21 pag...
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Piano Trio,String Ensemble - Level 5 - Digital Download SKU: A0.861901 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 21 pages. Mark O'Connor Musik International #6206161. Published by Mark O'Connor Musik International (A0.861901). Piano Trio No. 1 Poets and Prophets (cello part – piano, vln, cel) MO160CCello Part (score and parts available)Music by Mark O’Connor18 pages - 29:00 minutes in lengthI. Man In BlackII. The Tennessee TwoIII. My JuneIV. Hello, I’m Johnny CashPiano Trio No. 1 (Poets and Prophets) was composed by Mark O’Connor during the Fall of 2003. The piece was commissioned for the Eroica Trio by a noted patron for music, Kathryn Gould of Palo Alto, California. The world premiere took place at the Montalvo Chamber Music Series in California, March 5th, 2004. In a letter to the members of the trio dated 9/20/03, Mr. O’Connor lays out his plan for the new music.My initial ideas have sort of exploded in to the entire concept of the music with a real impact actually. Now I am piecing together the parts of it and then will eventually work on detail as I get the overall form under wrap. Here is what my inspiration for the music is; Johnny Cash.Johnny was a boyhood hero of mine, I used to sing his songs when I was 8, 9 and 10 years old, and played the guitar like him (sometimes up the fretboard strumming away). My mom used to help me transcribe all the lyrics off the albums, she also thought he hung the moon. As you can imagine, the passing of Cash for me this last week has been emotional. I am at my very best when I compose with my emotions at my sleeve, and guess what, it is time to do the Eroica piece. And I believe I will be able to craft a very unique tribute in to the form of a Piano Trio. There is something that is very fitting in all of this though. Cash was one of the few country music and rockabilly musicians to appeal to all ages, all types of people all the way into the MTV generation which is something that is hard to fathom. That one person can move musical mountains with his charisma and his voice. He sung about the prisons, riding the trains, about killing, and living, about lost love, about the gospel, about the downtrodden and the Native American, and about being stoned. His musical sound was the thing that got everybody though. He developed along with his guitar player Luther Perkins, a new and vibrant way to bring the music out.I also knew Johnny and worked with him, visited him privately at his home. Johnny also appeared on my album called Heroes, where he brought back the great story of the Devil coming down to Georgia to challenge young Johnny for the golden fiddle. My job now is to bridge what I am feeling about my inspiration for Cash, and bring it in to the instruments that I love writing for.I might not have imagined that this Johnny Cash concept would have worked out of hand, if it hadn’t been for your musicianship, insight fullness and graceful approaches in to the details of musical concepts and style. If the piece is good, then I will have no doubt that you will bring it to the forefront so others can grasp the intentions of the work, and in addition for others to enjoy playing it after you have brought it all out in to the open, and gave it a life. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2003 Composed by Mark O’ConnorCan be heard on An American Journey by the Eroica Trio, Angel RecordsMark O’Connor Piano Trio with Soyeon Lee and Soo Bae soon to be released on OMAC Records Catalogue Number.
$15.00
If There Was No You by Brandi Carlile - Leadsheet
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Melody line, (Lyrics) and Chords
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Alternative/Rock
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Brandi Carlile
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If There Was No You
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Musicnotes
Performed by: Brandi Carlile: If There Was No You Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music ...
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Performed by: Brandi Carlile: If There Was No You Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Lyrics/Melody/Guitar;Leadsheet, instruments: C Instrument;Voice;Guitar; 4 pages -- Adult Alternative~~Alternative Pop/Rock~~Pop Rock~~Singer-Songwriter
$3.25
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
Sparrowhawk Tango. For Youth Orchestra (Standard Arrangement)
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Orchestra
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INTERMEDIATE
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Tango
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Geraldine
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Sparrowhawk Tango. For Youth O
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Geraldine
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SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.1300127 Composed by Geraldine (Denny) Green. 21st Century,Children,Classical. Score and Parts. 58 pag...
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Full Orchestra - Level 3 - Digital Download SKU: A0.1300127 Composed by Geraldine (Denny) Green. 21st Century,Children,Classical. Score and Parts. 58 pages. Geraldine (Denny) Green at Oakmountmusic #889869. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1300127). ALL PURCHASES COME WITH SCORE AND PARTSDuration 3 minutes.This short piece was inspired by my many sightings and observations of sparrowhawks in their behaviour,  hunting techniques and how they fly and soar. They appear to “Tango†with their prey. For me the Tango is a passionately agressive dance with no negotiation. If you are a small creature caught by a sparrowhawk there is also no negotiation!There are now 7 different arrangements of this piece available;No.1 – School arrangement; for violins 1, 2 and 3, cello 1 and 2.No.2 – Standard Arrangement; for violins 1 and 2, viola, cello and double bassNo.3 – Youth OrchestraThe instrumentation for the youth orchestra arrangement is as follows:Flutes 1&2, 1 Oboe, Clarinets 1&2 in Bflat, 1 Bass Clarinet in Bflat (to low C), 1 Bassoon, 1 Eflat Alto Saxophone.Trumpets 1&2 in Bflat2 Pedal Timpani, Side Drum, Bongos – 1 set, 1 Conga, 1 Suspended Cymbal (played with soft stick throughout), Maracas, Tambourine, Triangle.Violins 1,2 & 3, Cello 1 & 2No.4 – Flute, violin and pianoNo.5 – Flute, cello and pianoNo.6 – Flute, clarinet (Bflat), violin and pianoNo.7 – Flute, clarinet (Bflat) and pianoNo.8 – Piano Solo.
$40.00
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