Version française
Free Sheet music
Instruments
ACCORDION
BAGPIPE
BALALAIKA
BANJO
BASS
BASSOON
BLANK SHEET…
BOOKS
BOUZOUKI
BUGLE
CELLO - VIO…
CHARANGO
CHOIR - VOC…
CLARINET
CORNET
DOBRO - GUI…
DOUBLE BASS
DRUM
DULCIMER
ELECTRONIC …
ENGLISH HOR…
EUPHONIUM
FLUGELHORN
FLUTE
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
HORN
LUTE, THEOR…
MANDOLIN
MARCHING BA…
MARIMBA
MUSICAL COU…
NO SCORES
OBOE
ORCHESTRA -…
ORCHESTRA P…
ORGAN - ORG…
OTHER INSTR…
OUD
PANPIPES
PEDAL STEEL…
PERCUSSION
PIANO
RECORDER
SAXOPHONE
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLA
VIOLA DA GA…
VIOLIN - FI…
WHISTLE
XYLOPHONE
ZITHER
Home
Instrumentations
Composers
New additions
Top 100
Metronome
Staff paper
Musician's shop
Sheet music books
Digital sheet music
Music equipment
Gift ideas
About free-scores.com
Free
Sheet Music
44
Digital
Sheet Music
112
Sheet Music
Books
771
Music
Equipment
233
Digital scores
(access after purchase)
Post mailing
Digital sheet music
SORTING AND FILTERS
SORTING AND FILTERS
Sorting and filtering :
--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
ENGLISH HORN
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
style (all)
AFRICAN
AMERICANA
ASIAN
BLUEGRASS
BLUES
CELTIC - IRISH - SCO…
CHILDREN - KIDS : MU…
CHRISTIAN (contempor…
CHRISTMAS - CAROLS -…
CLASSICAL - BAROQUE …
CONTEMPORARY - 20-21…
CONTEMPORARY - NEW A…
COUNTRY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLK SONGS - TRADITI…
FRENCH SONGS
FUNK
GOSPEL - SPIRITUAL -…
HALLOWEEN
INSTRUCTIONAL : CHOR…
INSTRUCTIONAL : METH…
INSTRUCTIONAL : STUD…
JAZZ
JAZZ GYPSY - SWING
JEWISH - KLEZMER
LATIN - BOSSA - WORL…
LATIN POP ROCK
MEDIEVAL - RENAISSAN…
METAL - HARD
MOVIE (WALT DISNEY)
MOVIE - TV
MUSICALS - BROADWAYS…
OLD TIME - EARLY ROC…
OPERA
PATRIOTIC MUSIC
POLKA
POP ROCK - CLASSIC R…
POP ROCK - MODERN - …
POP ROCK - POP MUSIC
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
VIDEO GAMES
WEDDING - LOVE - BAL…
WORSHIP - PRAISE
Relevance
Best sellers
Prices - to +
Prices + to -
New releases
A-Z
skill (all)
beginner
easy
intermediate
avanced
expert
Sellers (all)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
with audio
with video
with play-along
Not classified
13
PIANO & KEYBOARDS
2 Pianos, 4 hands
28
Piano solo
13
Piano, Voice
5
Piano, Vocal and Guitar
4
C Instruments
2
GUITARS
Guitar notes and tablatures
4
Bass guitar
2
VOICE
Choral SATB
7
Choral 2-part
4
Choral TTBB
4
Soprano voice, Piano
1
Choral SSATTB
1
WOODWIND
Clarinet
1
Clarinet Quartet: 4 clarinets
1
Flute
1
Saxophone (band part)
1
Tenor Saxophone
1
Alto Saxophone
1
Descant (Soprano) Recorder
1
Instrumentations suivantes
Retracter
WOODBRASS
Trumpet
2
Trombone
1
Brass Quintet: 2 trumpets, horn, trombone, tuba
1
STRINGS
Violin
3
String Quartet: 2 violins, viola, cello
1
Violin and Piano
1
Cello
1
PERCUSSION & ORCHESTRA
Jazz combo
2
Concert band
1
Jazz Ensemble
1
String Orchestra
1
Chamber Orchestra
1
Brass ensemble
1
Instrumentations suivantes
Retracter
OTHERS
You've selected:
Just Can\'t Tell It All
Sheetmusic to print
112 sheet music found
<
1
26
51
....
101
Free-For-All
Guitar notes and tablatures
Guitar - Digital Download SKU: A0.1497877 Composed by Ted Nugent. Arranged by Tracy…
(+)
Guitar - Digital Download SKU: A0.1497877 Composed by Ted Nugent. Arranged by Tracy Dean McCallum. 20th Century,Rock. Tablature. 8 pages. Tracy Dean McCallum #1074289. Published by Tracy Dean McCallum (A0.1497877). https://tracymccallum.com Never before have I turned on you You look too good to me Your beady eyes, they could cut me in two And I just can't let you be Well, it's a free for all, and I heard it said You can bet your life Stakes are high and so am I It's in the air tonight See you there with your Cheshire grin I got my eyes on you Shake your tail feather in my face and there's no tell in what I'll do Well looky here, you sweet young thing: the magic's in my hands When in doubt, I'll whip it out. I got me in a rock 'n roll band It's a free for all Here we go! Look out below! I'm on the prowl tonight When it's said and done, I'll have my fun. I can do anything I like Come one, come all, to a midnight ball. The invitation's there All alone and I'm driving home. God help me I do declare It's a free for all Never before have I turned on you Well you look too good to me Your beady eyes, they could cut me in two And I just can't let you be Well, it's a free for all, and I heard it said You can bet your life Stakes are high and so am I It's in the air tonight It's a free for all
$7.99
7.3 €
#
Guitar notes and tablatures
#
Ted Nugent
#
Free-For-All
#
Tracy Dean McCallum
#
SheetMusicPlus
An Omani Dance Suite - COMPLETE BUNDLE (Score and all parts)
Choral SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.835452 Composed by Stuart …
(+)
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
27.43 €
#
Choral SATB
#
Stuart Brown
#
An Omani Dance Suite - COMPLETE BUNDLE
#
Stuart Brown Music
#
SheetMusicPlus
O Canada
Choral Choir (5-Part) - Level 2 - Digital Download SKU: A0.1217531 Composed by A. R…
(+)
Choral Choir (5-Part) - Level 2 - Digital Download SKU: A0.1217531 Composed by A. Routhier/C Lavallee. Arranged by Bill ORANGE Lyons. A Cappella,Jazz,Patriotic,Traditional. Octavo. 6 pages. Bill ORANGE Lyons #814082. Published by Bill ORANGE Lyons (A0.1217531). So, why would an American arrange O Canada? Well, for one, it's one of best anthems around. Truth be told, I used to direct a choir I founded (called the Orange Korale) and we were doing the Star-Spangled Banner for various MLB teams and knew eventually we'd need to sing the Canadian Anthem and finally had that chance for the Toronto team while playing here in the states and they loved it, and I think you will too.Wanting to keep it simple, I did not incorporate any French verse(s) so I hope you'll simply enjoy this simple but beautiful piece. Although it states written for SAATB, there is one place where the alto splits but only for a few notes. It is an easy arrangement but one that should be pleasing to all who hear it. This is a very easy chart to perform. Just tell them it was arranged by someone in one of the 'southern' provinces. I won't tell if you don't. :-).
$2.02
1.85 €
#
A
#
O Canada
#
Bill ORANGE Lyons
#
SheetMusicPlus
The Story Of Reuben Clamzo & His Strange Daughter
Choral TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…
(+)
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
3.65 €
#
Choral TTBB
#
Arlo Guthrie
#
The Story Of Reuben Clamzo & His Strange Daughter
#
Edition Craig Hanson
#
SheetMusicPlus
Just Can't Tell It All
Choral SATB
Choral Choir,Choral,SATB Chorus,Voice - Digital Download SKU: HX.1444025 Composed b…
(+)
Choral Choir,Choral,SATB Chorus,Voice - Digital Download SKU: HX.1444025 Composed by Byron Smith. This edition: scorch. Concert. 14 pages. Fred Bock Music Company #0. Published by Fred Bock Music Company (HX.1444025).
$3.50
3.2 €
#
Choral SATB
#
Byron Smith
#
Just Can't Tell It All
#
Fred Bock Music Company
#
SheetMusicPlus
Just Can't Tell It All
Choral TTBB
Choral Choir,Choral,Voice (TTBB) - Digital Download SKU: HX.1260908 Composed by Byr…
(+)
Choral Choir,Choral,Voice (TTBB) - Digital Download SKU: HX.1260908 Composed by Byron J. Smith. This edition: scorch. Concert. 13 pages. Duration 270. Fred Bock Music Company #0. Published by Fred Bock Music Company (HX.1260908).
$3.50
3.2 €
#
Choral TTBB
#
Byron J
#
Just Can't Tell It All
#
Fred Bock Music Company
#
SheetMusicPlus
It was a lover and his lass (a modern madrigal) for SATB choir
Choral SATB
Choral Choir (SATB) - Digital Download SKU: A0.576648 Composed by David Warin Solom…
(+)
Choral Choir (SATB) - Digital Download SKU: A0.576648 Composed by David Warin Solomons. 20th Century,Contemporary,Holiday,Love. Octavo. 6 pages. David Warin Solomons #49135. Published by David Warin Solomons (A0.576648). A jolly parody of Shakespeare's song by the same name but using my Bell Dance as the melody to represent mobile phones (or cell phones as they say in the USA). A version for men's voices is also available on this site. The sound sample here was performed by the Composer's Choir under Dan Shaw. ring ding dong ding dong ring ding dong ding dong It was a lover and his lass in the spring time that through the city streets did pass in this ring time calling each other every minute or two and texting in case they couldn't get through oh hearken to the lovers in the spring time! Between the supermarket aisles while they're shopping these pretty city folk would chat without stopping vainly the birds are welcoming spring with their song they'll wear themselves out e'er very long while lads and lasses never tire of ringing! Then one day when Romeo must text his Julietta just to say I luv ya yeah I luv ya so much but then she rings back to tell him that it's all over she's met a nicer lad from Folkestone or Dover (It's all over it's all over lad from Dover) so he just rings to all of his pals and calls her a slag! and all the people on the tram hear the show while our pretty city folk live all on their mobile then suddenly the battery's flat as a skate and Romeo can not ring his mate he's sorry that he called her slag in spring time he can't ring her he can't ring his Julietta sorry now in spring.
$3.99
3.65 €
#
Choral SATB
#
David Warin Solomons
#
It was a lover and his lass
#
David Warin Solomons
#
SheetMusicPlus
You Can't Tell a Newfie - accompaniment in D
Piano, Vocal and Guitar
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.893869 Composed by Da…
(+)
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.893869 Composed by David Kai. Country,Folk,Pop. Score. 6 pages. David Kai #6140185. Published by David Kai (A0.893869). ACCOMPANIMENT IN DA fun song about a famous symbol of Newfoundland - the Newfoundland Dog!You Can’t Tell a Newfie words and music by David Kai ©1990 No you can’t tell a Newfie a thing he should do, To sit or to stay or to come back to you He’s hairy and slobbery, as strong as a horse, It’s the Newfoundland dog that I sing of, of course. He’s the kind of a dog that will never be scared, For to serve and protect he was bred and prepared And there’s many a swimmer whose life has been spared, By the Newfoundland dog, who’s like a lifeguard with hair. But you can’t tell a Newfie a thing he should do, To sit or to stay or to come back to you He’s hairy and slobbery, as strong as a horse, It’s the Newfoundland dog that I sing of, of course. You can hook up a Newfie to a cart or a sleigh, It will bear all your burdens, not tiring all day It can carry a line from a boat to the land, To rescue the perishing, saving all hands But you can’t tell a Newfie a thing it should do, To sit or to stay or to come back to you It’s hairy and slobbery, as strong as a horse, It’s the Newfoundland dog that I sing of, of course. She is strong but so gentle, a real teddy bear, But there won’t be a place where you won’t find her hair She will care for the children, watch them just like a Mum, And keep them in safety ‘til labours are done But you can’t tell a Newfie a thing she should do, To sit or to stay or to come back to you She’s hairy and slobbery, as strong as a horse, It’s the Newfoundland dog that I sing of, of course. It’s the Newfoundland dog that I sing of, of course.
$4.00
3.66 €
#
Piano, Vocal and Guitar
#
the Newfoundland dog, who’s like a lifeguard with hair
#
David Kai
#
#
You Can't Tell a Newfie - accompaniment in D
#
David Kai
#
SheetMusicPlus
You Can't Tell a Newfie - lead sheet in D
Piano, Vocal and Guitar
Guitar,Piano,Vocal,Voice - Digital Download SKU: A0.893867 Composed by David Kai. C…
(+)
Guitar,Piano,Vocal,Voice - Digital Download SKU: A0.893867 Composed by David Kai. Country,Folk,Pop. Score. 2 pages. David Kai #6140181. Published by David Kai (A0.893867). LEAD SHEET IN DA fun song about a famous symbol of Newfoundland - the Newfoundland dog.You Can’t Tell a Newfie words and music by David Kai ©1990 No you can’t tell a Newfie a thing he should do, To sit or to stay or to come back to you He’s hairy and slobbery, as strong as a horse, It’s the Newfoundland dog that I sing of, of course. He’s the kind of a dog that will never be scared, For to serve and protect he was bred and prepared And there’s many a swimmer whose life has been spared, By the Newfoundland dog, who’s like a lifeguard with hair. But you can’t tell a Newfie a thing he should do, To sit or to stay or to come back to you He’s hairy and slobbery, as strong as a horse, It’s the Newfoundland dog that I sing of, of course. You can hook up a Newfie to a cart or a sleigh, It will bear all your burdens, not tiring all day It can carry a line from a boat to the land, To rescue the perishing, saving all handsBut you can’t tell a Newfie a thing it should do,To sit or to stay or to come back to you It’s hairy and slobbery, as strong as a horse, It’s the Newfoundland dog that I sing of, of course. She is strong but so gentle, a real teddy bear, But there won’t be a place where you won’t find her hair She will care for the children, watch them just like a Mum, And keep them in safety ‘til labours are done But you can’t tell a Newfie a thing she should do, To sit or to stay or to come back to you She’s hairy and slobbery, as strong as a horse, It’s the Newfoundland dog that I sing of, of course. It’s the Newfoundland dog that I sing of, of course.
$2.00
1.83 €
#
Piano, Vocal and Guitar
#
the Newfoundland dog, who’s like a lifeguard with hair
#
David Kai
#
#
You Can't Tell a Newfie - lead sheet in D
#
David Kai
#
SheetMusicPlus
You Can't Tell a Newfie a Thing He Should Do
Bass guitar
Mixed Percussion Accordion,Acoustic Guitar,Electric Bass Guitar - Level 3 - Digital Downlo…
(+)
Mixed Percussion Accordion,Acoustic Guitar,Electric Bass Guitar - Level 3 - Digital Download SKU: A0.1105293 By David Kai. By David Kai. Arranged by David Kai. Celtic,Comedy,Country,Folk,Irish. Full Performance. Duration 190. David Kai #708538. Published by David Kai (A0.1105293). A song about a famous symbol of Newfoundland - the Newfoundland dog. This song features the use of an Ugly Stick, a traditional Newfoundland percussion instrument. You Can’t Tell a Newfie words and music by David Kai ©1990 No you can’t tell a Newfie a thing he should do To sit or to stay or to come back to you He’s hairy and slobbery, as strong as a horse It’s the Newfoundland dog that I sing of, of course. He’s the kind of a dog that will never be scared For to serve and protect he was bred and prepared And there’s many a swimmer whose life has been spared By the Newfoundland dog, who’s like a lifeguard with hair. But you can’t tell a Newfie a thing he should do To sit or to stay or to come back to you He’s hairy and slobbery, as strong as a horse It’s the Newfoundland dog that I sing of, of course. You can hook up a Newfie to a cart or a sleigh It will bear all your burdens, not tiring all day It can carry a line from a boat to the land To rescue the perishing, saving all hands But you can’t tell a Newfie a thing it should do To sit or to stay or to come back to you It’s hairy and slobbery, as strong as a horse It’s the Newfoundland dog that I sing of, of course. She is strong but so gentle, a real teddy bear But there won’t be a place where you won’t find her hair She will care for the children, watch them just like a Mum And keep them in safety ‘til labours are done But you can’t tell a Newfie a thing she should do To sit or to stay or to come back to you She’s hairy and slobbery, as strong as a horse It’s the Newfoundland dog that I sing of, of course. It’s the Newfoundland dog that I sing of, of course.
$1.99
1.82 €
#
Bass guitar
#
David Kai
#
You Can't Tell a Newfie a Thing He Should Do
#
David Kai
#
SheetMusicPlus
It's Only Sex
Bass guitar
Bass Guitar - Level 3 - Digital Download SKU: A0.1035485 Composed by William James …
(+)
Bass Guitar - Level 3 - Digital Download SKU: A0.1035485 Composed by William James Barnes. Arranged by Daniel Roberts. New Age,Rock. Score. 1 pages. Daniel P Roberts #640699. Published by Daniel P Roberts (A0.1035485). Car Seat Headrest, It's Only Sex note for note bass transcription 4 string bass with TAB. The other night I cried while thinking of having sex with you Not out of desire or shame but some subconscious impulse to feel pain I wiped my tears on my face and neck and the backs of my ears And said, Now it's sweat, now it's sweat, it's sweat now Just to see you It's such a treasure But when I feel you My flesh yields no pleasure And honey I'm cultured I'm very sex positive So what is this feeling? It ain't so positive I can't tell you if I like it, I like it What happens if I don't like it? I like it I can't tell you if I like it, I like it What happens if I don't like it? It's only OK, so I've been reading all the sex blogs And they all talk about how OK it is to be gay And straight and bisexual and asexual And have sex however you like But I don't care about hundreds of hypothetical people And their hypothetical sex deals I care about me, and my sex deal! What about my problems? Baby, my body Constantly betrays me I try to betray it I only hurt myself Yeah, yeah I can't tell you if I like it, I like it What happens if I don't like it? I like it I can't tell you if I like it, I like it What happens if I don't like it? It's only- It's only sex It's only It's only sex C'mon, sexual desire, speak! I want to hold you tight I want to feel your love physically I want to sleep with you But only in the literal sense I can't tell you if I like it, I like it What happens if I don't like it? I like you I can't tell you if I like it, I like it What happens if I don't like it? It's only- I can't tell you if I like it, I like it What happens if I don't like it? I like it I can't tell you if I like it, I like it What happens if I don't like it? It's only- It's only sex (it's only sex) It's only- It's only sex (no, it's not) It's only sex It's only- It's only sex It's only sex It's only-.
$4.99
4.56 €
#
Bass guitar
#
William James Barnes
#
It's Only Sex
#
Daniel P Roberts
#
SheetMusicPlus
Visconti Sforza Tarot Cards, opus 66 ... Twenty Two Salon Pieces For Two Pianos (1996) 18 La Stella
2 Pianos, 4 hands
Instrumental Duet Instrumental Duet,Piano - Level 4 - Digital Download SKU: A0.869426
(+)
Instrumental Duet Instrumental Duet,Piano - Level 4 - Digital Download SKU: A0.869426 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Latin,Romantic Period. Score and parts. 4 pages. Thomas Oboe Lee #2071133. Published by Thomas Oboe Lee (A0.869426). YouTube link: https://www.youtube.com/user/thomasoboelee/videosWhen the Reed sisters, Elizabeth & Lydia, asked me to write a new work for two pianos, I wasn't quite sure where or how to begin. Then I came upon a book on numerology by Annemarie Schimmel, The Mystery of Numbers. In it I discovered a lot of fascinating things, mystical and magical, associated with each number from one to 10,000. Since I would be writing a piece for a duo, double digits would do the trick. Number 22 stood out. It has two important associations: the Hebrew alphabet has 22 letters, and there are 22 major arcana cards or allegories of the Tarot. Perfect! I could write 22 pieces, each a musical rendering of a card. And, coincidentally, this work will opus 66.For pictorial inspiration, I bought a Pierpont Morgan Library copy of the Visconti-Sforza Tarot Cards from 15th century Italy. For musical inspiration, I listened to the wonderful salon music of the Polish composer Frederic Chopin, the American composer Louis Moreau Gottschalk, and the Brazilian composer Ernesto Nazareth.The 22 pieces in the Visconti-Sforza Tarot Cards are: Zero Il Matto The Fool entertains the gathered guests with a tarantella. I. Il Saltimbanco The Mountebank shuffles his cards and does a samba. II. La Papessa The High Priestess concocts a magic potion. III. L'Imperatrice The Empress dances all night. IV. L'Imperatore The Emperor promenades into the Great Hall and inspects the courtiers. V. Il Papa The Pope makes a proclamation that all sinners will be pardoned. VI. L'Amore Love in a tropical paradise. VII. Il Carro Triumphant in battle, the gladiators ride into town on chariots. VIII. La Giustizia Justice is swift and unrelenting. IX. Il Vecchio The Old Man reminisces. X. La Ruota della Fortuna Fortunes rise and fall unpredictably. XI. La Fortezza Strength and fortitude will prevail. XII. Il Penduto Lamentation for the Hanged Man. XIII. Il Morte Death lurks around the corner. XIV. La Temperanza Temperance in A major. XV. Il Diavolo The Devil seduces with his charm and wit. XVI. La Torre The tower topples and crashes onto the populace gathered below. XVII. La Stella Twinkle, twinkle, little star ... XVIII. La Luna Minuet for moonstruck lovers. XIX Il Sole Sunshine, margaritas and salsa cubana. XX Il Giudizio On the Day of Judgment, the angels blow their trumpets ... XXI. Il Mondo The world would be a happier place if we all dance together. Performance option: Shuffle the 22 allegory cards from the Tarot deck to determine the order of performance.
$9.99
9.13 €
#
2 Pianos, 4 hands
#
Thomas Oboe Lee
#
Visconti Sforza Tarot Cards, opus 66 ... Twenty Two Salon Pieces For Two Pianos
#
Thomas Oboe Lee
#
SheetMusicPlus
Irish National Anthem (Unofficial) for String Orchestra
String Orchestra
String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Ke…
(+)
String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Keith Terrett. 20th Century, European, Patriotic. Score, Set of Parts. 10 pages. Published by Music for all Occasions
Londonderry Air arranged for String Orchestra.<br> <br> A big band version of the song is used as the theme for The Danny Thomas Show (a.k.a. Make Room For Daddy).<br> <br> "Danny Boy" was used to represent Northern Ireland at the start of the London 2012 Olympics opening ceremony, sung by a choir of children on the Giant’s Causeway.<br> <br> On November 25, 2014, the Vancouver Canucks used the song in honor of the recently deceased Pat Quinn, who played and worked in many executive capacities for the team.<br> <br> There are various theories as to the true meaning of "Danny Boy". Some listeners have interpreted the song to be a message from a parent to a son going off to war or leaving as part of the Irish diaspora.<br> <br> The 1918 version of the sheet music included alternative lyrics ("Eily Dear"), with the instructions that "when sung by a man, the words in italic should be used; the song then becomes "Eily Dear", so that "Danny Boy" is only to be sung by a lady". In spite of this, it is unclear whether this was Weatherly’s intent.<br> <br> Why the name Londonderry Air? Londonderry and Derry refer to the same place, a city in the north of Ireland, and also to the surrounding county. Supposedly the city of Derry was founded by St. Colmcille, although archaeological evidence shows that people were living there thousands of years earlier. There is an excellent museum in the city, which is worth a visit if you want to find out more. The name of the city was actually "Doire", corrupted to "Derry" by people who can’t pronounce Irish. It thought to derive from an Irish root meaning "oak tree".<br> <br> Moving quickly along in history, about a millenium later the government of England was having a difficult time colonizing Ireland because of the fierce and warlike clans living there, especially in the north of the country, Ulster. The monarchs of England, almost all of whom were notorious cheapskates, were continually looking about for ingenious ways to conquer places without actually having to put up the money themselves, or run the risk of unpopularity if they lost. In the case of Ireland, some of these schemes of the "Brish gummit" (as it is termed nowadays in Ulster) are still producing unfortunate long-term consequences.<br> <br> In 1608, King James I gave the city of Derry to the City of London corporation. I guess the deal could be summed up by saying that if the City of London could figure out a way to chase all the inhabitants out of Derry, they would be allowed to keep the loot, minus a percentage for the King of course. If they lost, well too bad. In celebration of this historic agreement, the name of Derry was officially changed to Londonderry. (For further information, check out the Northern Ireland Tourist Board’s History of Derry.)<br> <br> The linguistic outcome of all this today is that, if you think that King James’s deal with the City of London was a good idea, you call both the city and county "Londonderry". If you do, you are probably a supporter of the Unionist movement that seeks to keep Ulster a part of the United Kingdom. If you think it was a bad idea, you call both "Derry", and you are probably a supporter of the Irish Nationalist cause. Or you might just be someone who thinks it’s confusing for kings to be going around changing the names of places all the time for no good reason.<br> <br> You can find plenty of discussion about the political side of the question elsewhere, but here let’s look at the musical side. We have an air, collected in county Derry/Londonderry, and it doesn’t have a title. What do we call it?<br> <br> If you were a proper Victorian, there’s no way you were going to call it the Londonderry Air, much less the Derry Air, because of the improper sentiments that these titles might suggest. My parents tell me that in their youth in Australia, it was usually called the Air from County Derry. (This would, I suppose, support Winston Churchill’s theory that Australia was inhabited by "convicts and Irishmen".)<br> <br> My mother also sends the following information, referring to an arrangement of the tune by the Australian composer Percy Grainger:<br> <br> Just another note about Danny Boy, that I grew up in Australia believing to be the Air from County Derry. We were looking through some LP’s last night (back to vinyl yet!) and found a Mercury Wing Classical Favorites stereo LP SRW18060, COUNTRY GARDENS and other favorites by Percy Grainger {played by} Eastman-Rochester Pops, Frederick Fennell, conducting. The cover notes included the following: "Irish Tune from County Derry was harmonised in memory of Irish childhood friends in Australia." Considered by many to be Grainger’s masterpiece of harmonization, the tune was collected many years ago by Miss Jane Ross of New Town, Limavady, Ireland. Grainger has set it for many instrumental combinations. So there’s another variant on the name for it. It doesn’t say who wrote the notes, but the bits in quotes for each of the works on the record are Grainger’s original comments.<br> <br> The references to Londonderry Air that I’ve seen don’t go back any earlier than the late 1930s. For example, the Glenn Miller Orchestra recorded Danny Boy (Londonderry Air) in February 1940. Bing Crosby’s version was recorded in July 1941 (reference). (So many different things I could check up on!) Londonderry was an important American naval base during WWII, but the US hadn’t come into the war in 1940.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com<br> <br> Contact Publisher Related Scores
$8.99
8.22 €
#
String Orchestra
#
trad
#
Irish National Anthem
#
Music for all Occasions
#
SheetMusicPlus
Paisley's Sonata
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.1030831 Composed by Michael C. Brow…
(+)
Piano Solo - Level 4 - Digital Download SKU: A0.1030831 Composed by Michael C. Brown. 20th Century,Romantic Period. Score. 23 pages. Michael C. Brown #4051. Published by Michael C. Brown (A0.1030831). This piece celebrates the life and mourns the loss of my granddaughter, Paisley Gladys Hogan, who was but 2 months old when she was called to Heaven. These are the words I wrote just before her funeral.... I. The Presence - She was here. I held her the day she was born. I held her and watched her smile at me less than 24 hours before she departed. She only knew love. No one around her ever showed her anything else that humanity had to offer; like hatred, heartache, pain, control, or anger. II. The Shock - She feels a Hand beckon her to leave her mortal coil, and she enters into a world we cannot yet reach.. With no one home, her former body ceases to wake. The unimaginable has happened and we struggle to reverse it. Finally, it becomes clear that we cannot. She sees us cry and she wonders what is happening. Having never known sorrow, she only sees that love didn't cause this response. She wants to comfort us with the love she knows, but we do not yet sense it. III. The Questions - One word has confounded mankind from its creation; Why? We have never found an acceptable answer. We ask, Why did this happen? and What did I do? and What didn't we do right? and Why couldn't it have been me? among others. We only know that her absence has carved holes in our hearts shaped like her. She tries to tell us, You can still love me. I just cannot be seen by you now. It does not mean your love cannot make me happy. I still want it. I still feel it. Please feel my love for you. IV. Letting Go - The day comes to bid farewell to the vehicle by which she came to us. We struggle to cope that we will see her face no more except in pictures. Because of the brevity of her life, memories are few to relive, but to do so is to recall happiness. In sorrow, we return her to the earth. All that is left is to return to recall, to talk to her, to bring flowers and other gifts, and to await the day we follow her. V. Remembering - The days and years follow. Normalcy slowly sets back into our lives. The holes in our hearts will never fully heal. But the salve of her love and her memory help to soothe the ache. We still return to where we placed her mortal home, where we laugh and cry in tandem, where our hearts ache to fill the void left by her departure. It will never really get better, but it will become easier for her love to dull the sting of her absence. VI. The Reunion - One by one, we will feel the same Hand bid us to come. The same events will befall those left behind each time. One by one, she will greet us as we reunite with her. We marvel at how she has stayed with us as we stay to comfort those we had just bidden farewell. The rest cannot be imagined by we that remain..........
$4.99
4.56 €
#
Piano solo
#
Michael C
#
Paisley's Sonata
#
Michael C. Brown
#
SheetMusicPlus
THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7)
2 Pianos, 4 hands
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497847 Composed by Jenni Rod…
(+)
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
18.28 €
#
2 Pianos, 4 hands
#
dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
#
Jenni Roditi
#
THREAD, Between the Octaves A Piano Duo Suite
#
Jenni Roditi
#
SheetMusicPlus
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
2 Pianos, 4 hands
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by…
(+)
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. Published by Jenni Roditi (A0.1497861). Piano Duo 2 pianos/4 hands. Ritualise, Between the Octaves finally found its identity with the word ritualise. It began as announce, became pronounce, then declare and went as far a pontificate for a title. At that point I realised I was mocking my own music and needed to take it more seriously. Ritualise brought out a meaning to the music that I hadn’t wanted to admit to. It is quite folk-like, in a primal and entrancing kind of way. I can imagine a communal dance for some ceremonial purpose in this music with both public and private elements.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
18.28 €
#
2 Pianos, 4 hands
#
dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
#
Jenni Roditi
#
RITUALISE, Between the Octaves - A Piano Duo Suite
#
Jenni Roditi
#
SheetMusicPlus
On That Cross
Choral SSATTB
Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182868 By Stuart Richard …
(+)
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
2.74 €
#
Choral SSATTB
#
Stuart Richard Brown
#
On That Cross
#
Stuart Brown Music
#
SheetMusicPlus
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
2 Pianos, 4 hands
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Rod…
(+)
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published by Jenni Roditi (A0.1497843). Piano Duo - 2 pianos, 4 hands. Surrender, Between the Octaves was the piece that was composed first in the suite. It exposes a simple call to return to the beginning, to return to a pure act of listening. This note..ah, now that note.. oh. This is how the piece was written - one note at a time. Listening from within a space (its original title) of resonance, of edges and meetings, of disappearances and repetitions that reflect on this gentle body of notes. There is a slow hearing that may, or may not create a tone-journey.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
18.28 €
#
2 Pianos, 4 hands
#
dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
#
Jenni Roditi
#
SURRENDER, Between the Octaves, A Piano Duo Suite
#
Jenni Roditi
#
SheetMusicPlus
IGNITE, Between the Octaves - A Piano Duo Suite (Movement 7 of 7)
2 Pianos, 4 hands
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by…
(+)
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074279. Published by Jenni Roditi (A0.1497866). Piano Duo - 2 pianos/4 hands. Ignite, Between the Octaves began with the impetus of static ‘pulsation’ (its original title) on repeated octaves. The piece is a fizzing dash of nodal vortices, small, then larger, spinning and tumbling and all the way to the finish line. This piece brings the complete suite of 7 pieces to a dynamic close, with a sense of ignition to new beginnings. The music echoes the opening F octaves of Initiate (movement 1). Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
18.28 €
#
2 Pianos, 4 hands
#
dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
#
Jenni Roditi
#
IGNITE, Between the Octaves - A Piano Duo Suite
#
Jenni Roditi
#
SheetMusicPlus
They Saw a Star Children's Christmas Cantata for solo optional flute and piano
Alto Voice,Flute,Piano - Level 2 - Digital Download SKU: A0.1319736 Composed by Con…
(+)
Alto Voice,Flute,Piano - Level 2 - Digital Download SKU: A0.1319736 Composed by Connie Boss. Arranged by Connie Boss. Christian,Christmas,Holiday,Instructional. 32 pages. Connie Boss #908291. Published by Connie Boss (A0.1319736). The Christmas Star was very important. Many found their way to Bethlehem because of it’s bright light that shown down upon the stable where Jesus lay. This cantata tells the story of the Angel giving Mary news. Mary and Joseph traveling to Bethlehem where Jesus was born. The Angels, shepherds and the three Kings following the star to find Jesus.This is just melody, optional flute on 3 songs and piano. Perfect for the lower grades that don't sing harmonies. There is narration before each song. Songs in the cantata are:Mary Had a Baby Boy - has some melody of Mary Had a Little Lamb, but also has new lyrics and melodyA Little Baby - original by me. A little baby born to save us one and allWhat Child is This - They Saw a Star - original by me. The Three kings find their way to see baby JesusWe Three Kings/Scarbarough Fair - Lyrics from We Three Kings with the melody of Scarborough FairQuestions or request, email cdboss@cvalley.net. If you purchase this and would like the background accompaniment, please email me with proof of purchase.
$6.99
6.39 €
#
Connie Boss
#
They Saw a Star Children's Christmas Cantata for solo optional flute and piano
#
Connie Boss
#
SheetMusicPlus
The Be-Bop Range Book
Trumpet
Trumpet Solo - Level 5 - Digital Download SKU: A0.829071 Composed by Eric Bolvin. I…
(+)
Trumpet Solo - Level 5 - Digital Download SKU: A0.829071 Composed by Eric Bolvin. Instructional,Jazz. Individual part. 64 pages. ERIC V BOLVIN #3579875. Published by ERIC V BOLVIN (A0.829071). The Be-Bop Range Book is a creative approach to developing range, technique and improvisational be-bop skills for trumpet.IntroductionTrumpet range and developing it is one of the most common and controversial subjects among trumpet players, teachers and authors. Without delving too far into the physical and scientific aspects of trumpet playing, allow me to paraphrase the great Yogi Berra;The upper register of the trumpet is the same as the middle and lower registers, just different.All trumpet playing is a coordination or balance of three things: air, tongue level and embouchure. It is through sensible, intelligent and consistent practice that we develop the skills necessary to play throughout the entire range of our instrument.Purpose Of This BookAlthough hitting the high note may be the quest for many trumpet players, a more useful and musical goal is developing a large playable range. This means being able to articulate and play musically and dynamically throughout the entire range of the instrument. This is accomplished through the use of Range Arcs, which are musical phrases that cover a large range. In addition to building our playable range, we are working on technique and adding to our jazz vocabulary.I originally developed the concept of Range Arcs in The Modern Jazz Trumpet Method. Many players have commented on how useful these studies are, so I decided to expand on it here. For more rudimentary range, flexibility and endurance study, seeTongue Level & Air.The Approach NoteI have found that how we approach the highest note of a musical phrase is critical to range development. This aspect of range development is presented here in a progressive, creative format.Exercises 1-5 use the Chromatic Approach. This means that the highest note of the arc is approached from a 1â„2 step below. The exercises continue, adding a 1â„2 step to the approach note every five exercises.Articulation & PhrasingAll exercises in this book are to be played in a swing style. However, if you are having trouble with an exercise, sometimes playing it straight may help. Jazz articulation should also be employed throughout. What does that mean exactly? Jazz trumpet articulation is as spontaneous and individual as an improvised solo. Honestly, if I have to think about it, I can’t do it. The best advice is to listen to the trumpet players quoted in this book and to as much jazz trumpet as you can. Transcribe and play solos while emulating their style and articulation.Immersing yourself in this will result in your own personal style of articulation. Jazz articulation on trumpet is also born out of necessity. Some slurs in a line may just not be possible so you must tongue. This will be revealed when you start some of the exercises that contain wider intervals.How To Use This BookEach exercise group consists of a Range Arc, Range Builder and Range Builder Extended. Each group should be practiced for at least one week before moving ahead to the next one.Range ArcsThe Range Arc is the original lick. Many of these have been borrowed from some of the great jazz trumpeters of all time; Freddie Hubbard, Clifford Brown, Lee Morgan, Chet Baker, Tom Harrell, Randy Brecker, Fats Navarro and Blue Mitchell.You should begin with the key that is marked with an asterisk * ; it is an easy key and range and will help you familiarize yourself with the lick. Practice slowly at first and then work for speed. Once you are familiar with the * lick, start at the beginning of the Range Arc. Work on each key until you get it smoothly. Repeat as needed and rest between each key. Take the D.C. and play 8va through the indicated key (see the box at the end of the Range Arc) that takes you to High C. Rest for 15 minutes.Range BuildersAfter resting, you are ready for the Range Builder. These are short.
$16.95
15.5 €
#
Trumpet
#
Eric Bolvin
#
Air
#
The Be-Bop Range Book
#
ERIC V BOLVIN
#
SheetMusicPlus
Simmering into fall
Concert band
Concert Band - Level 4 - Digital Download SKU: A0.1110858 By Brady Kuhl. By Brady K…
(+)
Concert Band - Level 4 - Digital Download SKU: A0.1110858 By Brady Kuhl. By Brady Kuhl. Arranged by Brady Kuhl. Classical,Comedy,Contest,Festival. Score and Parts. 66 pages. Brady Kuhl #713153. Published by Brady Kuhl (A0.1110858). The song simmering into fall is a song that supposed to portray fall as a season, but it just turned into a beautiful pile of trash, as the Intro is the introduction, movement A is supposed to portray the cooling down in the tempeture and changing the color of trees, movement B is supposed to represent false fall but after a while, the music seems to fall out of control. I don't know if this song trash or Tresure, please find out and enjoy, and tell me how yawl think. If yawl can manage to play thst song in real life and make it sound good, it would make yawl the best musicians.
$2.00
1.83 €
#
Concert band
#
Brady Kuhl
#
Simmering into fall
#
Brady Kuhl
#
SheetMusicPlus
Byron Smith: Just Can't Tell It All - choir (SATB: soprano, alto, tenor, bass)
Choral SATB
Instantly printable sheet music by Byron Smith for choir (SATB: soprano, alto, tenor, bass…
(+)
Instantly printable sheet music by Byron Smith for choir (SATB: soprano, alto, tenor, bass) of MEDIUM skill level. / concert
$7.48
6.84 €
#
Choral SATB
#
Byron Smith
#
Virtualsheetmusic
Byron J. Smith: Just Can't Tell It All - choir (TTBB: tenor, bass)
Choral TTBB
Instantly printable sheet music by Byron J. Smith for choir (TTBB: tenor, bass) of MEDIUM …
(+)
Instantly printable sheet music by Byron J. Smith for choir (TTBB: tenor, bass) of MEDIUM skill level. / concert
$6.48
5.92 €
#
Choral TTBB
#
Byron J. Smith
#
Virtualsheetmusic
ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
2 Pianos, 4 hands
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by…
(+)
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. Published by Jenni Roditi (A0.1497857). Piano Duo 2 pianos/4 hands. Encircle, Between the Octaves, originally called rotate as its impetus was to generate a steadily rotating music. Encircle was later chosen as a more evocative word. The harmony surprised me as it suggested shifts and colourations that I would not have expected to conjure. Two upper rotating parts with melodic narrative are supported by bass and baritone lower parts. The final section adds a dance-like short form to end what could otherwise have run and run and run. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
18.28 €
#
2 Pianos, 4 hands
#
dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
#
Jenni Roditi
#
ENCIRCLE, Between the Octaves - A Piano Duo Suite
#
Jenni Roditi
#
SheetMusicPlus
<
1
26
51
....
101
© 2000 - 2024
Home
-
New realises
-
Composers
Legal notice
-
Full version
