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You've selected:
Something's Under My Bed
Sheetmusic to print
6 sheet music found
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1
Something's Under My Bed
Piano solo
Piano - Elementary - Digital Download SKU: F0.W9149 Composed by Kevin Olson. Sheet …
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Piano - Elementary - Digital Download SKU: F0.W9149 Composed by Kevin Olson. Sheet Music. Written For You. Features a playfully mysterious melody, highlighted in the low register of the piano, staccato and legato touches, a moderate use of accidentals, and fun lyrics. Solo Sheet. 3 pages. The FJH Music Company - Digital #W9149. Published by The FJH Music Company - Digital (F0.W9149). UPC: 674398209422.Something's Under My Bed is a clever solo for the elementary piano student that features a playfully mysterious melody, highlighted in the low register of the piano, staccato and legato touches, a moderate use of accidentals, and fun lyrics. A great choice! About FJH Written For You Piano SolosSparkling and lyrical pieces which promote musical expression.
$2.50
2.34 €
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Piano solo
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Kevin Olson
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Something's Under My Bed
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The FJH Music Company - Digital
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SheetMusicPlus
The Poet's Pen for Tenor, Oboe and Piano
Small Ensemble High Voice,Oboe,Piano Accompaniment - Level 5 - Digital Download SKU: A0…
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Small Ensemble High Voice,Oboe,Piano Accompaniment - Level 5 - Digital Download SKU: A0.981218 Composed by Judith Cloud. Contemporary,Standards. Score and parts. 17 pages. Judith Cloud #6689693. Published by Judith Cloud (A0.981218). Composer’s Notes In my parents' library there was an assortment of very old books that I used to leaf through while home for holidays. One of these, The Ladies' Wreath, was of special interest. The inscription inside the front cover read To Miss Sophia Venable by her friend William M. Duphuy, April 25, 1850. Within the collection of romantic short stories and poems was The Poet's Pen from the Greek didactic poet Menecrates. Here was something very different from the overly sentimental offerings in most of the volume. I imagined the solitary lady reading this would feel most exhilarated and even empowered. Ideas for setting the poem came almost immediately, with the oboe as a key figure. Having experimented with a choral setting, I settled on tenor, oboe and piano and in 1989 the piece was completed. I revised The Poet’s Pen in 2016. The Poet's Pen I was a useless reed; no cluster hungMy brow with purple grapes; no blossom flungThe coronet of crimson on my stem;No apple blushed upon me, nor (the gemof flowers) the violet strewed the yellow heathAround my feet; nor jessamine's sweet wreathRobed me in silver: day and night I pinedOn the lone moor, and shivered in the wind.At length a poet found me. From my sideHe smoothed the pale and withered leaves, and dyedMy lips in Helicon. From that high hour,I spoke! my words were flame and living power!All the wide wonders of the earth were mine;Far as the surges roll, or sunbeams's shine;Deep as earth's bosom hides the emerald;High as the hills with thunder-clouds are palled;And there was sweetness round me, that the dewHad never wet so sweet on violets blue.To me the mighty scepter was a wand;The roar of nations pealed at my command.To me the dungeon, sword, and scourge were vain,I smote the smiter, and I broke the chain;Or, towering o'er them all, without a plumeI pierced the purple air, the tempest's gloom,Till blazed th'Olympian glories on my eye,Stars, temples, thrones and gods--infinity. Menecrates of Ephesus (330-270 BC)
$15.00
14.04 €
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Judith Cloud
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The Poet's Pen for Tenor, Oboe and Piano
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Judith Cloud
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SheetMusicPlus
Kevin Olson: Something's Under My Bed - piano solo
Piano solo
Instantly printable sheet music by Kevin Olson for piano solo of MEDIUM skill level. /
Instantly printable sheet music by Kevin Olson for piano solo of MEDIUM skill level. /
$4.48
4.19 €
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Piano solo
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Kevin Olson
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Virtualsheetmusic
Etude in C, Le Couppey-Nolte
Piano solo
Piano Solo - Level 5 - Digital Download SKU: A0.987083 Composed by Eric Paul Nolte …
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Piano Solo - Level 5 - Digital Download SKU: A0.987083 Composed by Eric Paul Nolte and Felix Le Couppey. Arranged by Eric Paul Nolte. Contemporary,Instructional. Score. 5 pages. Eric Paul Nolte #1954995. Published by Eric Paul Nolte (A0.987083). This piece is a free adaptation and a complete reworking of a study by Felix Le Couppey (1811-1887), from his L'Agilité, Opus 20, 25 Progressive Studies for Mechanism and Light Touch. In its original form, this study was a charming little piece of musical fluff. But getting it up to speed reduced me to tears! It also gave me an epiphany of immense power that transformed my technique. Suddenly I could play faster than I had ever thought possible, and I could do so with a thrilling ease! This epiphany emerged from the spluttering frustration I felt over my inability to play these sixteenth notes at Le Couppey's metronome marking of 144. It dawned on me that I couldn’t play fast enough because I was tripping over my own fingers when I used the overly articulated technique of moving the fingers by the lift, throw, relax method. This superfluous motion creates an impenetrable barrier, a speed wall, as does playing legato scales by passing the thumb under the palm, when shifting hand position up and down the keyboard. So I found another way-which I’ve since learned was known to every pianist who ever achieved prodigious speed. Here’s how to bring this piece up to speed with ease: Be sure to practice this piece with each hand alone. For each group of sixteenth notes, gently place the four fingers down simultaneously, to get the feel. Think of your arm, from elbow to fingertips, as something like a kitchen utensil, such as a spatula. Moving your right arm as a unit, place your finger tips down into the key bed, depressing all four notes at once, as a block chord. Make sure that all the fingers remain stiff (not rigid with tension, but just stiff enough to resist collapsing upwards.) Slowly lift and then play each group by placing all the fingers down with a rotation of your forearm, calm and relaxed, with the fingers rolling through the notes at the speed of a brief snare drum roll: Rrrrip! To rip through this group of notes like this takes no more effort than to place those four fingers down, calmly, all at once! Then, with a quick shift up or down the keyboard to get into position for the next group, that’s the whole trick for playing such passages with astonishing speed and ease! It takes time and effort to get the knack here, but the result can be transformative and thrilling! As for my adaptation of this study, I believe it offers intermediate advanced players the chance to enjoy a great leap in technique like the one I experienced, and also offers a piece of music that one might not blush to play outside the practice room-perhaps bringing it at least into the living room for a soirée, if not into the concert hall. To make this adaptation, I wrote a grumbly bass line with lungs, and nice fat chords to flesh out most of the skinny little triads that accompany the original study’s fast passages. I added a brooding, chromatic introduction that features as a melody the accompanimental figure of a broken triad that Le Couppey wrote a few times on the second page, in various inversions. I employed this broken chord figure several more times in both hands, and also added a little coda, sprinkled with sparkle. Playing time is about 1 minute and 30 seconds.
$3.99
3.73 €
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Piano solo
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Eric Paul Nolte and Felix Le Couppey
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Etude in C, Le Couppey-Nolte
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Eric Paul Nolte
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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…
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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
3.73 €
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Choral TTBB
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Arlo Guthrie
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The Story Of Reuben Clamzo & His Strange Daughter
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Edition Craig Hanson
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SheetMusicPlus
Patios de Córdoba
Solo Guitar - Level 2 - Digital Download SKU: A0.594506 Composed by Traditional. Ar…
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Solo Guitar - Level 2 - Digital Download SKU: A0.594506 Composed by Traditional. Arranged by Richard Hirsch. Folk,Instructional,Multicultural,Traditional,World. Individual part. 5 pages. Richard Hirsch #203776. Published by Richard Hirsch (A0.594506). An arrangement of the Flamenco Soleares style (palo) for the dance (baile). The musical material for the arrangement is taken from standard traditional themes for the Soleares style of Flamenco. The arrangement is meant for guitarists and students of guitar that are new to Flamenco and want to learn the basics for one of the most important palos in Flamenco. The arrangement can be used to accompany a solo dance, customary in serious (jondo) Flamenco, often performed by a woman dancer. The Soleares rhythm consists of a repetition of a twelve beat phrase the Flamencos refer to as a compás where accents fall on the third, sixth, eight, tenth, and twelfth beats of the phrase (1 2 3 4 5 6 7 8 9 10 11 12). I notate the compás as a series of five measures that comprises two 3/4 measures followed by three 2/4 measures. Throughout the notation there is, therefore, a fluctuating between two measures in 3/4 and three measures in 2/4 time. The first beat of the compás falls on the second beat of the first 3/4 measure in the series and the first accented beat falls on the first beat of the second 3/4 measure. The sixth, eight, and tenth accented beats fall on the first beats of the 2/4 measures in the series. The twelfth beat falls on the first beat of the next series beginning with a 3/4 measure. Notating the compás in this manner allows the guitarist a total grasp of the underlying structure of the music, something that is often lost in other notations I have studied for Soleares. A command of the compás is essential for the guitarist to be able to work with Flamenco singers and dancers. The Soleares is a stately dance that moves at a moderate pace, but often ends in a finale (macho por BulerÃas) that is more than twice as fast as the first sections of the dance. The finale also contains a key change from the Phrygian mode of the llamadas and corridas to the key of E major. The arrangement contains essential basic techniques for Flamenco guitar, the rasqueado, the legato with hammering on, the four finger tremolo that rips at the strings before a full chord with the thumb, alzapúa where the thumb strikes in triplets down, up, down in rapid succession, etc. Students should dedicate themselves to a close and careful study of the notation to gain full mastery of these techniques. The arrangement consists of several sections, the llamadas which are calls to the dancer to take the stage, corridas where the dancer moves in a circle executing various heel and toe steps together with hand, arm, and body gestures, and the macho where the dance ends in a storm of stamping and a fit of wild abandon. The corrida sections consist of melodies Flamencos call “falsetasâ€. One of these is simply a series of broken chords while another is a melody taken from a song called “Caña†that is a member of the Soleares family. The notation ends, as is prescribed for the dance, on the tenth beat of the last compás (the first beat of the last 2/4 measure in the last five measure series). The Soleares was the first palo my maestro Juan González “Triguito†introduced me to in my studies with him in Madrid in the late 1960’s and is considered to be the “mother†of true forms of Flamenco. The title of the arrangement is in celebration of the beautiful patios of Córdoba, home of the Flamenco palo Soleares.
$3.99
3.73 €
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Traditional
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Patios de Córdoba
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Richard Hirsch
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SheetMusicPlus
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