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That's When The Music Takes Me - Guitar
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That's When The Music Takes Me
Choral SSAA
Choral Choir (SSAA) - Level 4 - Digital Download SKU: A0.1111174 By Neil Sedaka. By…
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Choral Choir (SSAA) - Level 4 - Digital Download SKU: A0.1111174 By Neil Sedaka. By Neil Sedaka. Arranged by Rebecca (Boo) de Bruin. A Cappella,Barbershop,Contemporary,Pop. Octavo. 11 pages. Rebecca de Bruin #713452. Published by Rebecca de Bruin (A0.1111174). Words and Music by Neil Sedaka in 1972. Arranged in 2022 by Boo de Bruin. 11 pages for Sweet Adelines (ladies' barbershop) chorus. (Tenor, lead, baritone, bass are roughly equivalent to SSAA, although lead and baritone have similar ranges, but perform different functions). That's when the music takes me is taken from Neil Sedaka's Solitaire LP. The song was notable as it was one of the only songs for which Sedaka wrote the lyrics in addition to the music. He often finishes his song using the song. (The ending of the arrangement is inspired by how he performs the song live, rather than the recording edit). It reached #18 on the UK singles chart, #27 on the US Billboard Hot 100, and #7 on the US Billboard Easy Listening chart. This arrangement was written for a barbershop chorus, and as such the lowest voice part has a lower range than is custom for choral SSAA writing. The melody sits with the lead for the vast majority of the song, but with the bass part taking a few of the lowest notes. Please note: in keeping with normal barbershop practice the men's barbershop voicing names are used (tenor, lead, baritone and bass) and an octave-shifted bass clef is used for the baritone and bass parts. Vocal ranges are: Tenor: D4 - G5 (D above middle C to G above high C) Lead: B3 - D5 (B below middle C to D above high C) Baritone: G3 - C5 (G below middle C to D above high C) Bass: D3 - D4 (D below middle C to D above middle C).
$1.99
1.82 €
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Choral SSAA
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Neil Sedaka
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That's When The Music Takes Me
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Rebecca de Bruin
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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
3.65 €
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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
That's When The Music Takes Me - Bb Trumpet 2
Trumpet (band part)
By Neil Sedaka. By Neil Sedaka. Arranged by Kirby Shaw. Combo. Concert; Light Concert; Pop…
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By Neil Sedaka. By Neil Sedaka. Arranged by Kirby Shaw. Combo. Concert; Light Concert; Pop. EPak. 1 pages. Duration 3:35. Published by Hal Leonard - Digital Sheet Music
$7.00
6.4 €
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Trumpet (band part)
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Neil Sedaka
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Light Concert
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That's When The Music Takes Me - Bb Trumpet 2
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
That's When The Music Takes Me - Bb Trumpet 1
Trumpet (band part)
By Neil Sedaka. By Neil Sedaka. Arranged by Kirby Shaw. Combo. Concert; Light Concert; Pop…
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By Neil Sedaka. By Neil Sedaka. Arranged by Kirby Shaw. Combo. Concert; Light Concert; Pop. EPak. 1 pages. Duration 3:35. Published by Hal Leonard - Digital Sheet Music
$7.00
6.4 €
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Trumpet (band part)
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Neil Sedaka
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Light Concert
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That's When The Music Takes Me - Bb Trumpet 1
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
That's When The Music Takes Me - Bass
Doublebass (band part)
By Neil Sedaka. By Neil Sedaka. Arranged by Kirby Shaw. Combo. Concert; Light Concert; Pop…
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By Neil Sedaka. By Neil Sedaka. Arranged by Kirby Shaw. Combo. Concert; Light Concert; Pop. EPak. 2 pages. Duration 3:35. Published by Hal Leonard - Digital Sheet Music
$7.00
6.4 €
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Doublebass (band part)
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Neil Sedaka
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Light Concert
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That's When The Music Takes Me - Bass
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
That's When The Music Takes Me - Trombone
Trombone (band part)
By Neil Sedaka. By Neil Sedaka. Arranged by Kirby Shaw. Combo. Concert; Light Concert; Pop…
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By Neil Sedaka. By Neil Sedaka. Arranged by Kirby Shaw. Combo. Concert; Light Concert; Pop. EPak. 1 pages. Duration 3:35. Published by Hal Leonard - Digital Sheet Music
$7.00
6.4 €
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Trombone (band part)
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Neil Sedaka
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Light Concert
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That's When The Music Takes Me - Trombone
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Neil Sedaka: That's When The Music Takes Me (complete set of parts) - orchestra/band
Orchestra
Instantly printable sheet music by Kirby Shaw for orchestra/band of MEDIUM skill level. / …
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Instantly printable sheet music by Kirby Shaw for orchestra/band of MEDIUM skill level. / pop,concert,light concert
$32.99
30.18 €
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Orchestra
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Neil Sedaka
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Virtualsheetmusic
Kirby Shaw: That's When The Music Takes Me for choir and piano (SATB)
Choral SATB
Instantly printable sheet music by Neil Sedaka for choir (SATB: soprano, alto, tenor, bass…
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Instantly printable sheet music by Neil Sedaka for choir (SATB: soprano, alto, tenor, bass) of MEDIUM skill level. / pop,concert,light concert
$5.88
5.38 €
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Choral SATB
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Kirby Shaw
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Virtualsheetmusic
Kirby Shaw: That's When The Music Takes Me for choir and piano (SSA)
Choral 3-part
Instantly printable sheet music by Neil Sedaka for choir (SSA: soprano, alto) of MEDIUM sk…
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Instantly printable sheet music by Neil Sedaka for choir (SSA: soprano, alto) of MEDIUM skill level. / pop,concert,light concert
$5.88
5.38 €
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Choral 3-part
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Kirby Shaw
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Virtualsheetmusic
Kirby Shaw: That's When The Music Takes Me for choir and piano (SAB)
Choral
Instantly printable sheet music by Neil Sedaka for choir (SAB: soprano, alto, bass) of MED…
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Instantly printable sheet music by Neil Sedaka for choir (SAB: soprano, alto, bass) of MEDIUM skill level. / pop,concert,light concert
$4.88
4.46 €
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Choral
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Kirby Shaw
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Virtualsheetmusic
When The Party's Over for flute quintet or small flute ensemble
Flute Quintet : 5 flutes
Flute, Woodwind Quintet, Woodwind Choir or Ensemble, Choir, Orff instruments, c flut…
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Flute, Woodwind Quintet, Woodwind Choir or Ensemble, Choir, Orff instruments, c flute 1, c flute 2, c flute 3, c flute 4, and alto flute in G - Intermediate - Digital Download By Billie Eilish. Arranged by a " do Ray me " flute studio production, Ray-Michael Kauffman. Individual Part, Lead Sheet, Octavo, Score, Set of Parts, Sheet Music Single, Solo Part. 29 pages. Published by a " do Ray me " flute studio production
When the Party's over for flute quintet or small flute ensemble<br> <br> https://youtu.be/-yE2CbZcCQg<br> <br> https://youtu.be/lP6zqU_irNg<br> <br> <br> <br> by billie eilish, and arranged by me, ray-michael kauffman.<br> this is part of my " Compositions that care" and all money this piece takes in, will be donated to a charity for recovery from addition.<br> When i first herd this song, for me this was painting a picture of someone who was an addict, where they seemed the life of the party , and was having such a good time, however , using to feel a certain way -whether that be normal, happy, to fit in, loved,.. how ever, addiction cripples those persons effected may truly feel lonely and empty .<br> I debated with myself if this is what cause i wanted to support and hopefully shed some light on, addiction and everything and every person this effects.It was the next day , i had learned a friend and former co-worker had committed suicide after a long struggle with addition. I knew then that this decision was the right one.<br> To purchase and support this cause, or " Compositions that care", please visit SheetMusicPlus.com or direct link to my music available ;<br> https://www.sheetmusicplus.com/publishers/a-do-ray-me-flute-studio-production/7545<br> and check my website out, www.doRaymeflute.com<br> thank you for taking something so precious, as your time for me and this cause.
$13.99
12.8 €
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Flute Quintet : 5 flutes
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Billie Eilish
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do Ray me "
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When The Party's Over for flute quintet or small flute ensemble
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a " do Ray me " flute studio production
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SheetMusicPlus
That's When The Music Takes Me
Choral 3-part
By Neil Sedaka. By Neil Sedaka. Arranged by Kirby Shaw. SAB. Concert; Light Concert; Pop. …
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By Neil Sedaka. By Neil Sedaka. Arranged by Kirby Shaw. SAB. Concert; Light Concert; Pop. Choral. 11 pages. Duration 3:35. Published by Hal Leonard - Digital Sheet Music
$1.90
1.74 €
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Choral 3-part
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Neil Sedaka
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Light Concert
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That's When The Music Takes Me
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
That's When The Music Takes Me
Choral 3-part
By Neil Sedaka. By Neil Sedaka. Arranged by Kirby Shaw. SSA. Concert; Light Concert; Pop. …
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By Neil Sedaka. By Neil Sedaka. Arranged by Kirby Shaw. SSA. Concert; Light Concert; Pop. Choral. 11 pages. Duration 3:35. Published by Hal Leonard - Digital Sheet Music
$1.90
1.74 €
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Choral 3-part
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Neil Sedaka
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Light Concert
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That's When The Music Takes Me
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
That's When The Music Takes Me
Choral SATB
By Neil Sedaka. By Neil Sedaka. Arranged by Kirby Shaw. SATB. Concert; Light Concert; Pop.…
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By Neil Sedaka. By Neil Sedaka. Arranged by Kirby Shaw. SATB. Concert; Light Concert; Pop. Choral. 11 pages. Duration 3:35. Published by Hal Leonard - Digital Sheet Music
$1.90
1.74 €
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Choral SATB
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Neil Sedaka
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Light Concert
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That's When The Music Takes Me
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Kirby Shaw: That's When The Music Takes Me (COMPLETE) for orchestra
Orchestra
Instantly downloadable sheet music by Kirby Shaw for orchestra of MEDIUM skill level.
Instantly downloadable sheet music by Kirby Shaw for orchestra of MEDIUM skill level.
$64.99
59.45 €
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Orchestra
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Kirby Shaw
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Virtualsheetmusic
That's When The Music Takes Me - Drums
Drums
By Neil Sedaka. By Neil Sedaka. Arranged by Kirby Shaw. Combo. Concert; Light Concert; Pop…
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By Neil Sedaka. By Neil Sedaka. Arranged by Kirby Shaw. Combo. Concert; Light Concert; Pop. EPak. 2 pages. Duration 3:35. Published by Hal Leonard - Digital Sheet Music
$7.00
6.4 €
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Drums
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Neil Sedaka
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Light Concert
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That's When The Music Takes Me - Drums
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
That's When The Music Takes Me - Tenor Sax
Tenor Saxophone
By Neil Sedaka. By Neil Sedaka. Arranged by Kirby Shaw. Combo. Concert; Light Concert; Pop…
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By Neil Sedaka. By Neil Sedaka. Arranged by Kirby Shaw. Combo. Concert; Light Concert; Pop. EPak. 1 pages. Duration 3:35. Published by Hal Leonard - Digital Sheet Music
$7.00
6.4 €
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Tenor Saxophone
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Neil Sedaka
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Light Concert
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That's When The Music Takes Me - Tenor Sax
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Flex on the Move-Tuba Edition
Tuba
Tuba - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etud…
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Tuba - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Technique Training. 42 pages. Published by Faded Duck Music
Flex on the Move is a fun and creative approach to developing flexibility on all brass instruments. Available for trumpet, trombone and tuba. 42 pages and a lifetime of material!<br> Flex on the Move<br> There are many great books on flexibility (or “lip flexibility” as it is commonly called) available to today’s brass players. The commonly used books include Irons 27 Groups, Smith Lip Flexibilities and Colin Advanced Lip Flexibilities. Flexibility studies do go all the way back to Arban and St, Jacome, but became a staple of brass pedagogy in the early 20th Century through teachers and authors like Del Staigers, Herbert L. Clarke, Earl D. Irons and Walter M. Smith.<br> <br> There are different categories of flexibility exercises. There is “Long Flexibility” like those found in Colin’s Vol. I of Advanced Lip Flexibilities. With Long Flexibility you stay on one fingering and play a long line that takes you through a large range. Then, there is “Short Flexibility” similar to what is found in Irons and Smith where you play a repeated pattern on one fingering. Most flexibility falls into the Short Flexibility category. With this book, I would like to add “Moving Flexibility” to the list. With Moving Flexibility you play a short pattern that takes you up and down through all the fingerings, covering a large range on your instrument. The idea of Moving Flexibility was first introduced in Arban p. 45 #16 and later in Charles Colin, 100 Original Warm-Ups.<br> <br> Why Practice Flexibility?<br> Chances are, you’re not going to stand in front of an audience and perform flexibility studies. Flexibility studies are a means to an end, not the end. Most trumpet players practice some form of flexibility every day as it improves overall technique and gets you ready to play music. In our lessons, Claude Gordon would tell me how a particular exercise or routine he was writing would “get me feelin’ good.” So, that is my goal with these studies, to get you “feelin’ good”.<br> <br> Technique<br> There are many beliefs among players as to what makes a brass instrument “work”. Some believe it’s the lip, some believe it’s the tongue, some believe it’s the air, or some (like me) believe it’s a balance or coordination of all three. I don’t think that your chosen methodology will matter when practicing these exercises. If you practice them religiously and correctly, you’re playing will certainly improve.
$16.95
15.5 €
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Tuba
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Eric Bolvin
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Flex on the Move-Tuba Edition
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Faded Duck Music
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SheetMusicPlus
Drifting (Traci's Theme)
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.741161 Composed by Anne Britt. Cont…
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Piano Solo - Level 3 - Digital Download SKU: A0.741161 Composed by Anne Britt. Contemporary,New Age. Score. 4 pages. Anne Britt #3381999. Published by Anne Britt (A0.741161). Written as part of the Family Suite, this piece is dedicated to my stepdaughter, Traci. Traci is a quiet person – someone who takes her time letting you get to know her. In that way, she reminds me of myself when I was young. Her calm and peaceful nature makes me think of the way a leaf follows the gentle flow of a meandering forest stream, sometimes riding the current steadily along and other times drifting into a calm pool along the stream’s edge for a time before catching the current once again. This piece, while gentle and peaceful, is contemplative and reveals the quiet hopes and feelings of a young woman facing the world of adulthood, with its joys and struggles. 4 pages.Family Suite songbook: https://www.sheetmusicplus.com/title/20667272Visit the composer's website for contact info and some free sheet music downloads: https://annebrittmusic.com/
$3.99
3.65 €
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Piano solo
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Anne Britt
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Drifting
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Anne Britt
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SheetMusicPlus
Southwest Sunrise Trumpet Solo with Piano
Trumpet, Piano
B-Flat Trumpet,Piano - Level 1 - Digital Download SKU: A0.1080679 Composed by Alex …
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B-Flat Trumpet,Piano - Level 1 - Digital Download SKU: A0.1080679 Composed by Alex Lewis and Eddie Lewis. Classical,Multicultural,World. Score and part. 9 pages. Tiger Music #684898. Published by Tiger Music (A0.1080679). Southwest Sunrise Trumpet Solo Eddie Lewis and Alex Lewis MTR P111 4137 Southwest Sunrise is a trumpet solo for beginner trumpet students that has a more complicated piano part. I often get requests for music for students of different skill levels. And in fact, that’s what of my strengths as a writer, is that I can blend parts across skill levels that way. In this case, Alex and I were striving for something that would be interesting for the pianist, but not overly challenging for the beginner trumpet student. The Process The inspiration for this piece came to me on a morning walk in Chandler, Arizona. Chandler is a suburb of Phoenix. I was walking east, into the rising sun. It was a very simple melody. It was a very simple blues melody that I immediately recognized as something that would work in our series for beginner trumpet students. This was during a time when my son, Alex, and I were already collaborating on some other projects. For this piece, I gave Alex the melody and gave him a general description of what I was hearing. Then I gave him his space to create what sounded good to him. The next stage was me editing some of his creativity. At this point we went back and forth on a few issues until we agreed on the final results. SKILL LEVEL The skill level for Southwest Sunrise is Trumpet Pioneer (we don’t have skill levels for piano parts yet on this website). Trumpet Pioner is the first of seven levels in our system. These are absolute beginners who have only been playing the trumpet for a few months. Our Trumpet Pioneer level limits the range to C in the staff. We also limit rhythms to nothing smaller than quarter-notes, and key signatures are limited to one flat or sharp. Practice Recommendations While it is obvious and I don’t normally list it as a point in this practice recommendations, but the rhythms are very different between the trumpet part and the trumpet part. So it is even MORE important to spend time listening to the composition long before you begin practicing it. As I said, this is a good habit for working on all performance pieces. There is research that proves that students learn their music best when they recognize their mistakes soonest. When you listen to the music repeatedly before you practice, it goes a long way towards helping you recognize your mistakes. This is one of the most important reasons for listening, but there are others that I won’t go into here. Assuming the pianist is far more advanced than the trumpeter, the pianist should assume a patient, educational role.
$6.72
6.15 €
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Trumpet, Piano
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Alex Lewis and Eddie Lewis
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Southwest Sunrise Trumpet Solo with Piano
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Tiger Music
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SheetMusicPlus
Nordic Movement 1: Ginnungagap
Concert band
Concert Band - Level 2 - Digital Download SKU: A0.1025077 Composed by Aric Noble. C…
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Concert Band - Level 2 - Digital Download SKU: A0.1025077 Composed by Aric Noble. Contemporary,Folk. Score and parts. 10 pages. Aric Noble #5306619. Published by Aric Noble (A0.1025077). Over the past few years I have become obsessed with Norse Mythology, and I mean real Norse Mythology. I say that withquotes because in my research I realized that a lot of people tell different stories. This is mainly because back when Christianity was growing,the Christians saw anything that wasn't Christian as pagan, so they got rid of it all. So that is why Greek, Roman, and Norse religions faded into mythologies, and all that was left was passed around in folk tales. And also because Marvel tells a very different tale of the mythology than the research I have collected and I want people to know these stories. Now moving passed the history lesson and into the music. This is interesting for me because this is the biggest original piece that I've ever made. This is going to be a multimovement piece, and this is the 1st movement, Ginnungagap, the endless void. This movement describes The Void, and the two lands of Fire(Muspelheim) and Ice(Niflhiem).Starting with The Void, it describes the blackness, and I use the absence of instruments to give this feeling, but however to give2 of the other themes to foreshadow it. It moves into this wild cascading theme for the Niflheim theme to describe the cold cascading environment of the world.After that it slows into a dark and ominous theme for Muspelheim(Surtr's Destiny). This was an interesting part to make because in mythology, Surtr, also referred to as Surt, is the fabled fire giant who destroys Asgard. No one knows where hecomes from, but from the moment of his creation, he knew of his destiny to destroy Asgard so he spent all of his time forging his sword to burrow into Asgard. I used a break drum to symbolize a hammer hitting an anvil to forge a sword, a lingering sound of Surtr's destiny.After this, I brought both themes together to resemble The Clash of the two worlds to create the Norse universe.The final theme in this first movement is entitled I am Ymir. In myhtology, Ymir is the father of everything. Created from the clash, he gave creation to all the gods, humans, giants, elves, and dwarves. This final theme takes Surtr's theme and flipsit to be mo.
$24.99
22.86 €
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Concert band
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Aric Noble
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It
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Nordic Movement 1: Ginnungagap
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Aric Noble
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SheetMusicPlus
Bach Fuga BWV 539 For Woodwind Quintet
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.889416 Comp…
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Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.889416 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standards. 31 pages. Luis Anjos Teixeira #3485727. Published by Luis Anjos Teixeira (A0.889416). 2018 Chamber Music Contest EntryAs a violin player this was always one of my beloved pieces and it has accompanied all my Life. The G minor Fuga is the most compact of the three fugues in the volume for violin solo (and note that in this versions they are not in fact fugues in the proper sense of the word, but rather a kind of fugue/Baroque-concerto hybrid form). It was also transcribed for lute by Bach at some later time (BWV 1000). My arrangement is based on a version of this piece for the organ made by Bach himself - BWV 539. I follow very intimately the organ version, not adding or letting out any of the original notes. As an arrangement I transposed it to H-Minor and some of the notes where made through the interpretation symbols more or less shorter in order to accentuate the polyphonic, rhythmic and natural dynamic of the piece. I also added some legatos. Crescendos, or fortes and similar indications are left out like in the original, waiting for your own interpretation. In the musical consciousness of Bach the polyphony and dialog between the voices were a projection of an ideal world for the Human Society and this should be in the first line of focus and in the mind of all the members in the group. The power of this piece comes from within its structure and relays in its polyphonic dimension. Allow yourself to focus on the Art of enhancing the beauty of this dialog, the bless of communicating with each other. Bach is Love - Love each another I really advise all performers to have a very humble and sensitive approach in the interpretation of this piece towards loudness because you will have to be listening to each other very carefully while performing. Linear time, sound and silence are the basic of dynamic expression. Dynamic will than happen naturally and without much effort when bringing the „Art of playing the silence and the Art of the „duration of the notes to a state of consciousness within the whole piece itself. Often in the old music notation the duration of the notes is longer written in the score then it should be played. Understandable because It takes a lot more time for a composer to write in detail the sound and the silence than to write only the raw length of the notes! Back in those times the performing artists were trained very well to read their raw parts and became very skilled in making their own thing out of the scores so the composers did not have to worry with so much detail like nowadays. In some scores we even find words like:-„please play this note simply as written and without embellishments! On the original score of the Fuga a sixth voice joins the group between bars sixty and sixty one and this voice can be heard very well in the sound file. This „Ghost voice is noted on the clarinet part as an extended possibility. To play it with just one clarinet is absolutely possible as well as arbitrary. Do at will some experiments and let than the group decide. In case of doubt play simply the bottom voice or let yourself get inspired with the sound file. One of my suggestions would be also to play the bottom line as long as the other one is silent, than jump to the upper voice as it comes in and go back again to your usual voice while the other voice „takes a break. This work brought me a new insight into the consciousness and the universal nature of Bach`s music. It requires high skilled and experienced artists to execute. The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. Thank you very much f.
$25.00
22.87 €
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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Johann Sebastian Bach
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Bach Fuga BWV 539 For Woodwind Quintet
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Luis Anjos Teixeira
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SheetMusicPlus
The Wounded Christ, a sacred hymn
Choral SATB
Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1415323 Compos…
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Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1415323 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Sacred,Spiritual. 3 pages. Kevin G. Pace #997058. Published by Kevin G. Pace (A0.1415323). A beautiful, sacred hymn with music by Kevin G. Pace and text by Mary Ann W. Snowball. Text:How can I feel His love when I’m escaping,When each temptation’s snare troubles my soul?Can I unveil my face when I awaken?How can I trust His grace to make me whole?How can I feel his love when I am aching,When sickness damages body and mind?Can my faith demonstrate without forsakingAll I have promised Him . . . all that I prize?How can I feel His love when I am grieving,When my heart breaks because death is my foe?Can I obey enough to be believing?How will my prayers be heard . . . peace to bestow?He is the wounded Christ; He knows temptation.When sickness takes a toll, reach for His hand.He is the wounded Christ, from the creation.He died so all might live; He understands.
$1.99
1.82 €
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Choral SATB
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Kevin G
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He knows temptation
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The Wounded Christ, a sacred hymn
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Kevin G. Pace
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SheetMusicPlus
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
3.65 €
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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
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