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You've selected:
The Distillers
Sheetmusic to print
15 sheet music found
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1
Brody Armstrong: The Hunger for guitar
Lyrics and Chords
Instantly printable sheet music by The Distillers for guitar (chords) of MEDIUM skill leve…
(+)
Instantly printable sheet music by The Distillers for guitar (chords) of MEDIUM skill level. / pop,rock
$4.97
4.46 €
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Lyrics and Chords
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Brody Armstrong
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Virtualsheetmusic
Sylph: The Dancing Wind
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.1209928 By Christopher Wheeler. By …
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Piano Solo - Level 4 - Digital Download SKU: A0.1209928 By Christopher Wheeler. By Christopher Wheeler. Arranged by Christopher Wheeler. 20th Century,Contemporary,Film/TV,Multicultural,Video Game,World. Score. 2 pages. ScrOnyHam Publishing LLC #807896. Published by ScrOnyHam Publishing LLC (A0.1209928). In alchemy, a sylph is an elemental creature associated with the element of air. Sylphs are depicted as delicate, winged beings and are believed to embody the higher spiritual aspects of air, including creativity, intuition, and inspiration. They are associated with the intellect and the mind, and are said to possess great wisdom and insight. The sylph is also connected to the process of distillation, representing the volatile or subtle aspects of a substance that are released during the process.
$1.99
1.79 €
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Piano solo
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Christopher Wheeler
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Sylph: The Dancing Wind
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ScrOnyHam Publishing LLC
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SheetMusicPlus
The Hunger
Lyrics and Chords
By The Distillers. Pop; Rock. GTRCHD. 3 pages. Published by Hal Leonard - Digital Sheet Mu…
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By The Distillers. Pop; Rock. GTRCHD. 3 pages. Published by Hal Leonard - Digital Sheet Music
$1.99
1.79 €
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Lyrics and Chords
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The Distillers
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Rock
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The Hunger
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Meeting Place
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.1494549 Composed by Alex Turner and…
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Piano Solo - Level 4 - Digital Download SKU: A0.1494549 Composed by Alex Turner and Miles Kane. Arranged by Isaac Regules. 21st Century,Baroque,Pop,Rock,Singer/Songwriter. Score. 7 pages. Isaac Regules #1071136. Published by Isaac Regules (A0.1494549). Meeting Place (sometimes titled The Meeting Place) by The Last Shadow Puppets, is a standout track from their debut album The Age of the Understatement. The song blends symphonic pop, pop rock and baroque pop, creating a sound that feels nostalgic, haunting and cinematic. This piano solo arrangement of this piece captures the essence of the original, distilling its qualities into a format that allows for an intimate and expressive performance.The song, written by Alex Turner and Miles Kane, explores themes of love, loss, and the lingering impact of memories associated with a particular place. It tells the story of a man who, after a difficult breakup, finds himself reflecting on a relationship that was as fleeting as it was meaningful. The lyrics paint a vivid picture of a couple who, for a short time, found solace in their meeting place, even as they understood their time together was limited. The inevitable end of the relationship, initiated by the woman, leaves the man grappling with heartache and a profound sense of longing.As the man wrestles with his emotions, he is caught between wishing the relationship had never happened and being unable to forget it. The orchestral elements and bittersweet melody underscore the melancholic tone of the song, culminating in a reflective conclusion that leaves a lasting impression of love lost.Miles Kane has mentioned that the inspiration for this song came from his own experiences at Heebie Jeebies, a beloved Liverpool venue where his first girlfriend worked.This piano solo arrangement translates the intricate melodies and uplifting accompaniment into a format that is both accessible and challenging for performers. Intended for intermediate to advanced players, it offers an opportunity to delve into the emotional nuances of the piece while improving technical skills.Engage with this arrangement, and allow the piano to evoke the feelings of longing, memory, and the inevitable pain of break-ups. This sheet music, transcribed and arranged by a life-long TLSP fan, faithfully captures the spirit of Meeting Place”.Listen to the arrangement now on YouTube—find the link in the post details.Contact: wnis4659@gmail.comJust for the love of music.
$5.99
5.38 €
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Piano solo
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Alex Turner and Miles Kane
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Meeting Place
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Isaac Regules
#
SheetMusicPlus
Popp for Flute
Flute and Piano
Flute and piano - easy to intermediate - Digital Download SKU: S9.Q47326 7 Europ…
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Flute and piano - easy to intermediate - Digital Download SKU: S9.Q47326 7 European Salon Pieces by Wilhelm Popp. Composed by William Popp. This edition: Sheet music. Flute - piano - salon pieces. Downloadable. Schott Music - Digital #Q47326. Published by Schott Music - Digital (S9.Q47326). In the 19th Century nationalist themes came into fashion. Composers drew on songs and dances from their native lands, working them into paraphrased adaptations, pot pourri arrangements and sets of variations or incorporating folk elements from various cultures in their compositions. Flautist Wilhelm Popp (1828-1902), who wrote music for his instrument at every level of difficulty, also took up this popular trend. In this collection seven of his ‘easily playable’ compositions have been chosen with musical links to different European countries. Here again Popp shows his ability to distil the essence from musical styles and fashions of his time, setting lyrical and virtuoso passages so well for the instrument that their effectiveness far outweighs any difficulties. The popularity of his pieces for tuition purposes, school concerts or youth music competitions remains undiminished to this day. This edition is essentially based on the first printed versions of these pieces – with just a small number of printing errors and inconsistencies corrected without comment.
$17.99
16.15 €
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Flute and Piano
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William Popp
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Popp for Flute
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Schott Music - Digital
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
Orchestra
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arran…
(+)
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
22.44 €
#
Orchestra
#
Claude Debussy
#
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
#
Arkady Leytush
#
SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
Orchestra
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arran…
(+)
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
22.44 €
#
Orchestra
#
Claude Debussy
#
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
#
Arkady Leytush
#
SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
Orchestra
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arran…
(+)
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00
22.44 €
#
Orchestra
#
Claude Debussy
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes
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Arkady Leytush
#
SheetMusicPlus
Mozart Symphony No. 25 in G minor - 1st Mvt
Concert band
Concert Band - Level 3 - Digital Download SKU: A0.1074345 Composed by Wolfgang Amad…
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Concert Band - Level 3 - Digital Download SKU: A0.1074345 Composed by Wolfgang Amadeus Mozart K.183. Arranged by S. Eads. Classical,Film/TV,Opera. Score and parts. 50 pages. Steve Eads #678641. Published by Steve Eads (A0.1074345). A shortened distillation of Mozart's other Symphony in G minor - this one used for the opening of the movie AMADEUS. I have taken the original setting for strings, horns and oboes and arranged for concert band. The brass parts (including TC low brass) are rather easy, but some of the woodwind parts are a bit challenging. There is an electric bass part if you do not have tympani. Enjoy!
$25.00
22.44 €
#
Concert band
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Wolfgang Amadeus Mozart K
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Mozart Symphony No. 25 in G minor - 1st Mvt
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Steve Eads
#
SheetMusicPlus
Livin' Thing
Brass Quintet: 2 trumpets, horn, trombone, tuba
Brass Quintet Horn,Trombone,Trumpet,Tuba - Digital Download SKU: A0.1461607 By Elec…
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Digital Download SKU: A0.1461607 By Electric Light Orchestra. By Jeff Lynne. Arranged by Will Corbin. Pop. 18 pages. Will Corbin #1040351. Published by Will Corbin (A0.1461607). More from the Department of Don't Do This to a Brass Quintet. Here's a take on Brit band Electric Light Orchestra's 1976 hit Livin' Thing. Billboard said the song moves through a dark U.K. rock distillation into a soaring, ethereal chorale and a return to the minor-key mode. Not sure I captured any of that.If you want alternative instrumentation, I'm happy to help. Contact me at wilcor@aol.com.
$15.00
13.47 €
#
Brass Quintet: 2 trumpets, horn, trombone, tuba
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Electric Light Orchestra
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Livin' Thing
#
Will Corbin
#
SheetMusicPlus
Lunea
Baritone and piano (or ensemble) - difficult - Digital Download SKU: S9.Q42988 2…
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Baritone and piano (or ensemble) - difficult - Digital Download SKU: S9.Q42988 23 sentences by Nikolaus Lenau. Composed by Heinz Holliger. This edition: single sheet. Downloadable, Separate edition. Duration 32 minutes. Schott Music - Digital #Q42988. Published by Schott Music - Digital (S9.Q42988). German.This edition contains the original piano version, as well as a piano reduction of the version for baritone and Ensemble. The subtitle of this work dedicated to Christian Gerhaher, '23 sentences by Nikolaus Lenau', should be taken literally: some of the texts in Heinz Holliger’s setting consist of only a few words. With relentless focus on essential elements, the texts are a distillation of the sensation which has been recorded in literary history as 'world-weariness'. Holliger reflects this concentrated emotion, presenting the singer and pianist with the highest level of technical demands within an extremely limited space, never as an end in itself but always as means to an extreme compression of musical and emotional expression.
$42.99
38.59 €
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Heinz Holliger
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Lunea
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Schott Music - Digital
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SheetMusicPlus
Stonemilker
String Trio: violin, viola, cello
Cello,Viola,Violin - Digital Download SKU: A0.937241 Composed by Bjork and Bjork Gu…
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Cello,Viola,Violin - Digital Download SKU: A0.937241 Composed by Bjork and Bjork Gudmundsdottir. Arranged by Evan Halloin. Contemporary. 22 pages. Evan Halloin #6370019. Published by Evan Halloin (A0.937241). Stonemilker by Björk, arranged for vocal or instrumental soloist accompanied by string quartet. This arrangement is a distillation of the dense string parts on Björk's recording from the album Vulcinura. The vocal part has been transcribed and notated very much like Björk sang it, but of course one can sing it freely.Score and parts are included in a 9 x 12 size. Adobe Acrobat will easily shrink to fit letter size paper.
$12.99
11.66 €
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String Trio: violin, viola, cello
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Bjork and Bjork Gudmundsdottir
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Stonemilker
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Evan Halloin
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SheetMusicPlus
Hide And Seek
Choral TTBB
Choral Choir,Choral (TTBB) - Level 4 - Digital Download SKU: A0.1367701 By Imogen H…
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Choral Choir,Choral (TTBB) - Level 4 - Digital Download SKU: A0.1367701 By Imogen Heap. By Imogen Heap. Arranged by Ian A. Cook. A Cappella,Folk,Pop,Singer/Songwriter. 17 pages. Red Pine Music Press #952076. Published by Red Pine Music Press (A0.1367701). An arrangement of Imogen Heap’s original song for unaccompanied TTBB quartet or choir, distilling the original’s thick chords to four notes at a time.
$2.99
2.68 €
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Choral TTBB
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Imogen Heap
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Hide And Seek
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Red Pine Music Press
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SheetMusicPlus
Piano Songbook
Piano solo
Piano - easy to intermediate - Digital Download Composed by Martin Stadtfeld. This ed…
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Piano - easy to intermediate - Digital Download Composed by Martin Stadtfeld. This edition: single sheet. Downloadable. Schott Music - Digital #Q54651. Published by Schott Music - Digital
The official sheet music edition of the same-named CD album Piano Songbook (Sony Classical). Includes arrangements and fantasies of popular works, ranging from baroque to romantic as well as own compositions by Martin Stadtfeld. Easy to intermediate difficulty - ideal for young pianists and returnees to the piano.<br> <br> The works collected in this volume have accompanied me through my life. In difficult times, this music gives me stability and certainty.<br> <br> The arrangements are partly free and subjective and distil what is essential for me. The motto was: as few notes as possible. This was also what I aspired to achieve in my 10 compositions in the third part. This means that most pieces can be used in piano lessons. Even those who return to the piano after a long time can pick up where they left off with these pieces. I hope that many people playing them will feel what I felt when making this volume: contemplation, absorption, inner strength.<br> <br> (Martin Stadtfeld)
$23.99
21.54 €
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Piano solo
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Martin Stadtfeld
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Piano Songbook
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Schott Music - Digital
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SheetMusicPlus
As the Dew from Heaven Distilling
Piano solo
Composed by Joseph J. Daynes. Arranged by Anne Britt. Contemporary Classical, Christian, S…
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Composed by Joseph J. Daynes. Arranged by Anne Britt. Contemporary Classical, Christian, Sacred, Latter-Day Saints, New Age. Sheet Music Single. 4 pages. Published by Anne Britt (S0.57209). - Sheet Music Single - Contemporary Classical,Christian,Sacred,Latter-Day Saints,New Age - Anne Britt
$3.99
3.58 €
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Piano solo
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Joseph J
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As the Dew from Heaven Distilling
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Anne Britt
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SheetMusicPlus
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