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The Way We Used To Be
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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
3.57 €
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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
The Sundials
Piano Trio,String Ensemble - Digital Download SKU: A0.1004152 Composed by Matthew S…
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Piano Trio,String Ensemble - Digital Download SKU: A0.1004152 Composed by Matthew Scott Phillips. Contemporary. Score and parts. 98 pages. Matthew Scott Phillips #5800833. Published by Matthew Scott Phillips (A0.1004152). Throughout the centuries, civilizations have used sundials to tell time. This instrument consists of a gnomon (Greek for knower), a long pole or incline, whose shadow is cast onto a flat stone or metal plate, that either lies on the ground or is erected onto a wall. This plate is marked with the hours of the day, and the gnomon's shadow passes over the marks. More than just an ancient timepiece, these instruments are doorways to the eternal past, and prophets of the eternal future. They bare witness to the infinite fleeting-ness of the lives of human beings. Unlike a modern watch or digital clock, in which every second enjoys its own momentary significance, the hours as marked by the sundial flow into one another in a continuous stream, that is ultimately timeless. The final hour of any mortal creature is, in this way, no more significant than the first, and all our hours seem insignificant in the context of the cosmos' grandness. Etched upon a great many sundials, in Greek, Latin, English, German, or French, is a motto designed to inspire human beings to consider these truths. Why so many sundial makers felt the need to inscribe on their creations their own philosophies and musings is unclear. Yet, each of these mottos seems contrived to express the contemplations of time and eternity so integral to the sundials' existence. Mottos such as umbra sumus (we amount to shadow) often hold multiple meanings. The we referred to can be the hours, which seem extant only because of the shadow passing over them. Or it can refer to the ephemeral nature of our lives, which on the grand calendar of eternity are so short as to be nothing. Or perhaps it warns that time itself is no more than an illusion; a shadow. Whether they are existential, humorous (I only count the sunny hours), or offer advice (use the hours, don't count them), these mottos are intended to give us pause: to compel us to look for a moment, not at the fleeting significance of our mundane lives, ticked away as they are in tiny hours, but to consider the eternal time that lies beyond us, and to therefore be briefly in contact with it. This composition, approximately an hour long and written for piano trio (Piano, Violin, and Cello), intends as its goal the same purpose as the mottos that inspired it. To transport those who listen to it (listen not merely hear) away from the earthly, and into the cosmic. Each movement is named after a different motto. The mottos, their English translations and the locations of the sundials that bare (or once bore) them is listed at the front. This is one hour, hopefully, that will not simply fade away, but rather will be one spent in the company of the eternal. .
$7.00
6.27 €
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Matthew Scott Phillips
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a shadow
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The Sundials
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Matthew Scott Phillips
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SheetMusicPlus
Irish National Anthem (Unofficial) for String Orchestra
String Orchestra
String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Ke…
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String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Keith Terrett. 20th Century, European, Patriotic. Score, Set of Parts. 10 pages. Published by Music for all Occasions
Londonderry Air arranged for String Orchestra.<br> <br> A big band version of the song is used as the theme for The Danny Thomas Show (a.k.a. Make Room For Daddy).<br> <br> "Danny Boy" was used to represent Northern Ireland at the start of the London 2012 Olympics opening ceremony, sung by a choir of children on the Giant’s Causeway.<br> <br> On November 25, 2014, the Vancouver Canucks used the song in honor of the recently deceased Pat Quinn, who played and worked in many executive capacities for the team.<br> <br> There are various theories as to the true meaning of "Danny Boy". Some listeners have interpreted the song to be a message from a parent to a son going off to war or leaving as part of the Irish diaspora.<br> <br> The 1918 version of the sheet music included alternative lyrics ("Eily Dear"), with the instructions that "when sung by a man, the words in italic should be used; the song then becomes "Eily Dear", so that "Danny Boy" is only to be sung by a lady". In spite of this, it is unclear whether this was Weatherly’s intent.<br> <br> Why the name Londonderry Air? Londonderry and Derry refer to the same place, a city in the north of Ireland, and also to the surrounding county. Supposedly the city of Derry was founded by St. Colmcille, although archaeological evidence shows that people were living there thousands of years earlier. There is an excellent museum in the city, which is worth a visit if you want to find out more. The name of the city was actually "Doire", corrupted to "Derry" by people who can’t pronounce Irish. It thought to derive from an Irish root meaning "oak tree".<br> <br> Moving quickly along in history, about a millenium later the government of England was having a difficult time colonizing Ireland because of the fierce and warlike clans living there, especially in the north of the country, Ulster. The monarchs of England, almost all of whom were notorious cheapskates, were continually looking about for ingenious ways to conquer places without actually having to put up the money themselves, or run the risk of unpopularity if they lost. In the case of Ireland, some of these schemes of the "Brish gummit" (as it is termed nowadays in Ulster) are still producing unfortunate long-term consequences.<br> <br> In 1608, King James I gave the city of Derry to the City of London corporation. I guess the deal could be summed up by saying that if the City of London could figure out a way to chase all the inhabitants out of Derry, they would be allowed to keep the loot, minus a percentage for the King of course. If they lost, well too bad. In celebration of this historic agreement, the name of Derry was officially changed to Londonderry. (For further information, check out the Northern Ireland Tourist Board’s History of Derry.)<br> <br> The linguistic outcome of all this today is that, if you think that King James’s deal with the City of London was a good idea, you call both the city and county "Londonderry". If you do, you are probably a supporter of the Unionist movement that seeks to keep Ulster a part of the United Kingdom. If you think it was a bad idea, you call both "Derry", and you are probably a supporter of the Irish Nationalist cause. Or you might just be someone who thinks it’s confusing for kings to be going around changing the names of places all the time for no good reason.<br> <br> You can find plenty of discussion about the political side of the question elsewhere, but here let’s look at the musical side. We have an air, collected in county Derry/Londonderry, and it doesn’t have a title. What do we call it?<br> <br> If you were a proper Victorian, there’s no way you were going to call it the Londonderry Air, much less the Derry Air, because of the improper sentiments that these titles might suggest. My parents tell me that in their youth in Australia, it was usually called the Air from County Derry. (This would, I suppose, support Winston Churchill’s theory that Australia was inhabited by "convicts and Irishmen".)<br> <br> My mother also sends the following information, referring to an arrangement of the tune by the Australian composer Percy Grainger:<br> <br> Just another note about Danny Boy, that I grew up in Australia believing to be the Air from County Derry. We were looking through some LP’s last night (back to vinyl yet!) and found a Mercury Wing Classical Favorites stereo LP SRW18060, COUNTRY GARDENS and other favorites by Percy Grainger {played by} Eastman-Rochester Pops, Frederick Fennell, conducting. The cover notes included the following: "Irish Tune from County Derry was harmonised in memory of Irish childhood friends in Australia." Considered by many to be Grainger’s masterpiece of harmonization, the tune was collected many years ago by Miss Jane Ross of New Town, Limavady, Ireland. Grainger has set it for many instrumental combinations. So there’s another variant on the name for it. It doesn’t say who wrote the notes, but the bits in quotes for each of the works on the record are Grainger’s original comments.<br> <br> The references to Londonderry Air that I’ve seen don’t go back any earlier than the late 1930s. For example, the Glenn Miller Orchestra recorded Danny Boy (Londonderry Air) in February 1940. Bing Crosby’s version was recorded in July 1941 (reference). (So many different things I could check up on!) Londonderry was an important American naval base during WWII, but the US hadn’t come into the war in 1940.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com<br> <br> Contact Publisher Related Scores
$8.99
8.05 €
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String Orchestra
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trad
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Irish National Anthem
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Music for all Occasions
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SheetMusicPlus
The Story of a Leader
Choral SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1143904 Composed by Igor K…
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1143904 Composed by Igor Korneitchouk. 20th Century,A Cappella,Contemporary,Religious. Octavo. 37 pages. Studio at the Post #744209. Published by Studio at the Post (A0.1143904). Duration: 16 minutes, 33 pp. Description: Exodus is a great story that belongs to everyone. Not only is it central to Judaism, not only is it integral to the Christian Bible, it is an immortal story that has been, and continues to be, an inspiration to oppressed peoples everywhere on this planet. It is relevant not just as ancient scripture but as living text, to be rediscovered by each new generation of an ever-widening Family of Man. The theme of struggle against oppression and slavery was just as relevant to the early Christians persecuted in Ancient Rome as it was relevant to the American Civil Rights movement of the 1960's, just as relevant to the Soviet Jews wishing to emigrate as it is to the South African Blacks resisting Apartheid. From the Dark Ages and the Spanish Inquisition, to Ghandi's emancipation of India, to the Holocaust, to, full-circle, the ongoing struggles in Palestine today, the story of Exodus is a guiding light in a dim and often grim world. According to the composer: The Story of a Leader is a collection of ‘re-chorales’ I created one summer when I was totally immersed in a post-educational obsession with the 371 Chorales by Johann Sebastian Bach. We used to study these to learn the rules of harmony and voice-leading (no parallel fifths, avoid crossed voices, etc.) at the Cleveland Institute of Music where I began my compositional career. That summer, now a professor of music in my own right, I discovered many broken and bent rules by the master himself and, along with the glory of being able to work through these Chorales myself at the piano, I felt an incredible feeling of liberation and possibilities unmediated by instructors of music theory. I began by stripping away all that Bach wrote, leaving only the hymn tunes which were not his to begin with. These tunes existed long before Bach used them for his tonal experiments, some attributed to Martin Luther, or someone else, others simply listed as ‘anonymous’. The same is true for the texts, which were then translated into English mostly in the 19th century (the provenance of each can be found herein on the first page of each of my reharmonizations). In some cases I modified the text to fit the context. I selected 12 of these ‘re-chorales,’ linking them together based on their texts in a kind of logic that worked for me, and created a narrative that told The Story of a Leader (Moses). This story is highlighted in the music with such techniques as cross-modal harmonies, points of imitation, a beer drinking song in one instance, and in another, to symbolize the parting of the seas for Moses’ people, an inversion of the soprano line in the bass..
$15.04
13.47 €
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Choral SATB
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Igor Korneitchouk
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The Story of a Leader
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Studio at the Post
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SheetMusicPlus
The Sundials: II; Pereunt et Imputantur (They pass and are counted)
String Trio: violin, viola, cello
String Ensemble,String Trio - Digital Download SKU: A0.1004149 Composed by Matthew …
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String Ensemble,String Trio - Digital Download SKU: A0.1004149 Composed by Matthew Scott Phillips. 20th Century,Contemporary. Score and parts. 13 pages. Matthew Scott Phillips #3510885. Published by Matthew Scott Phillips (A0.1004149). Throughout the centuries, sundials (a flat plate that marks the time of the day by the shadow of a gnomon which is cast onto it) have been used by civilizations to tell time. Unlike modern clocks and digital watches, in which every single second has its own momentary significance, telling time by sundial is more evolutionary. The seconds, and hours, melt into one another. It is perhaps for this reason that sundials have often been conceived not only as practical time pieces, but as works of art, metaphors, and creations that are inherent expressions of the personality of their creators. Etched in many sundials across the world, in Latin, English, German, and other languages are often found mottoes that reflect the thoughts of the sundial's creator. These mottoes can be fatalistic, humorous, transient, morbid, or serene, and almost always involve the subjects of time, the passing of the hours, life and its brevity, or metaphors involving shadows. Many times these mottoes feature some witticism, such as I only count the sunny hours (since a shadow must be present for a sundial to function). Other times, they can be revealingly existential (We are but shadow), and other times offer advice (Use the hours, don't count them).It is these statements of philosophy, etched in sundials throughout the centuries, that most interests me. I am currently composing a set of movements for piano trio (Piano, Violin, Cello) dedicated to the mottoes found on sundials, and their significance to me. The first movement, subtitled Tempus Edax Rerum (Time devours things) is expansive and attempts a feeling of eternity, into which all seemingly fast moving workings of human beings are inevitably subsumed. For the second movement I am considering the phrase Pereunt et Imputantur (They pass and are counted referring to the hours of the day), and its implication of the way in which time can slip away, whether we observe it or not.
$2.00
1.79 €
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String Trio: violin, viola, cello
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Matthew Scott Phillips
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The Sundials: II; Pereunt et Imputantur
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Matthew Scott Phillips
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SheetMusicPlus
The Sundials: III; Tempus Fugit Velut Umbra (Time flees like a shadow)
Piano Trio,String Ensemble - Digital Download SKU: A0.1004151 Composed by Matthew S…
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Piano Trio,String Ensemble - Digital Download SKU: A0.1004151 Composed by Matthew Scott Phillips. 20th Century,Contemporary. Score and parts. 9 pages. Matthew Scott Phillips #3510887. Published by Matthew Scott Phillips (A0.1004151). Throughout the centuries, sundials (a flat plate that marks the time of the day by the shadow of a gnomon which is cast onto it) have been used by civilizations to tell time. Unlike modern clocks and digital watches, in which every single second has its own momentary significance, telling time by sundial is more evolutionary. The seconds, and hours, melt into one another. It is perhaps for this reason that sundials have often been conceived not only as practical time pieces, but as works of art, metaphors, and creations that are inherent expressions of the personality of their creators. Etched in many sundials across the world, in Latin, English, German, and other languages are often found mottoes that reflect the thoughts of the sundial's creator. These mottoes can be fatalistic, humorous, transient, morbid, or serene, and almost always involve the subjects of time, the passing of the hours, life and its brevity, or metaphors involving shadows. Many times these mottoes feature some witticism, such as I only count the sunny hours (since a shadow must be present for a sundial to function). Other times, they can be revealingly existential (We are but shadow), and other times offer advice (Use the hours, don't count them).It is these statements of philosophy, etched in sundials throughout the centuries, that most interests me. I am currently composing a set of movements for piano trio (Piano, Violin, Cello) dedicated to the mottoes found on sundials, and their significance to me. The first movement, subtitled Tempus Edax Rerum (Time devours things) is expansive and attempts a feeling of eternity, into which all seemingly fast moving workings of human beings are inevitably subsumed. For the second movement I am considering the phrase Pereunt et Imputantur (They pass and are counted referring to the hours of the day), and its implication of the way in which time can slip away, whether we observe it or not.
$2.00
1.79 €
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Matthew Scott Phillips
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The Sundials: III; Tempus Fugit Velut Umbra
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Matthew Scott Phillips
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SheetMusicPlus
The Sundials: I;Tempus Edax Rerum (Time devours things)
Piano Trio,String Ensemble - Digital Download SKU: A0.1004148 Composed by Matthew S…
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Piano Trio,String Ensemble - Digital Download SKU: A0.1004148 Composed by Matthew Scott Phillips. 20th Century,Contemporary. Score and parts. 16 pages. Matthew Scott Phillips #3510879. Published by Matthew Scott Phillips (A0.1004148). Throughout the centuries, sundials (a flat plate that marks the time of the day by the shadow of a gnomon which is cast onto it) have been used by civilizations to tell time. Unlike modern clocks and digital watches, in which every single second has its own momentary significance, telling time by sundial is more evolutionary. The seconds, and hours, melt into one another. It is perhaps for this reason that sundials have often been conceived not only as practical time pieces, but as works of art, metaphors, and creations that are inherent expressions of the personality of their creators. Etched in many sundials across the world, in Latin, English, German, and other languages are often found mottoes that reflect the thoughts of the sundial's creator. These mottoes can be fatalistic, humorous, transient, morbid, or serene, and almost always involve the subjects of time, the passing of the hours, life and its brevity, or metaphors involving shadows. Many times these mottoes feature some witticism, such as I only count the sunny hours (since a shadow must be present for a sundial to function). Other times, they can be revealingly existential (We are but shadow), and other times offer advice (Use the hours, don't count them).It is these statements of philosophy, etched in sundials throughout the centuries, that most interests me. I am currently composing a set of movements for piano trio (Piano, Violin, Cello) dedicated to the mottoes found on sundials, and their significance to me. The first movement, subtitled Tempus Edax Rerum (Time devours things) is expansive and attempts a feeling of eternity, into which all seemingly fast moving workings of human beings are inevitably subsumed. For the second movement I am considering the phrase Pereunt et Imputantur (They pass and are counted referring to the hours of the day), and its implication of the way in which time can slip away, whether we observe it or not.
$2.00
1.79 €
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Matthew Scott Phillips
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The Sundials: I;Tempus Edax Rerum
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Matthew Scott Phillips
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SheetMusicPlus
Donut Etudes vol. 3: Don’t Step in the Holes! – String Orchestra
String Orchestra
String Orchestra - Level 3 - Digital Download SKU: A0.784349 Composed by Joshua Hau…
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String Orchestra - Level 3 - Digital Download SKU: A0.784349 Composed by Joshua Hauser. Instructional. Score and parts. 146 pages. Slide Ride #5288707. Published by Slide Ride (A0.784349). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!Combine these with the set for Band when used for Full or Chamber Orchestra.
$15.00
13.44 €
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String Orchestra
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Joshua Hauser
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Donut Etudes vol. 3: Don’t Step in the Holes! – String Orchestra
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Slide Ride
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SheetMusicPlus
Pitcairn Local Anthem (The Royal Telephone/We From Pitcairn Island”) for Voice & Piano
Piano solo
Piano - Level 3 - Digital Download SKU: A0.1207336 By Keith Terrett. By Frederick M…
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Piano - Level 3 - Digital Download SKU: A0.1207336 By Keith Terrett. By Frederick M. Lehman. Arranged by Keith Terrett. Historic,Multicultural,Patriotic,Praise & Worship,Traditional,World. Score (Chords/Lyrics). 3 pages. Keith Terrett #805498. Published by Keith Terrett (A0.1207336). The Pitcairn Islands are a remote British colony in the South Pacific, famous for being the site where the mutineers from the HMS Bounty landed. The islands’ population have always been very small (currently numbering around 50), yet, aside from the official anthem of God Save the King (which is not heard often on the islands), there have been, and continue to be, many unofficial anthems in use in the colony.In Diana Jolliffe Belcher’s 1871 book “The Mutineers of the Bounty and their Decendants in Pitcairn and Norfolk Island†it is reported that a local poem by Rev. G. H. Nobbs was set to the tune “Rousseau’s Dream†(sheet music) and was considered by Pitcairners to be their anthem at the time. It is not known for how long this was considered as their anthem, however. Also, in 1856, several Pitcairners resettled on Norfolk Island as Pitcairn had become too small. The local anthem now in use on Norfolk Island, Come Ye Blessed, is also referred to as the “Pitcairn Anthemâ€, and more than likely was brought to the island by the Pitcairn settlers, suggesting that this anthem was in use on Pitcairn at that time, and is also heard on Pitcairn currently.Currently, the song “We From Pitcairn Island†(to the tune of the hymn “The Royal Telephoneâ€) is used as an unofficial anthem at gatherings and the like. The lyrics were written by Pitcairner Melva Evans with assistance from the local Seventh Day Adventist Pastor L. A. J. Webster in 1962 to be performed by the school children on board a visiting cruise ship, but the song became identified by residents as their unofficial anthem. Other songs, such as “The Goodbye Song†(written by Pitcairner Amelia Young), and the hymn “In The Sweet By and By†are considered unofficial “Pitcairn songs†at gatherings as well. (“Goodbye songsâ€, sung to ships as they leave the country, are a tradition in many Polynesian islands, and are part of the patriotic music of those countries.).
$4.99
4.47 €
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Piano solo
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Keith Terrett
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Pitcairn Local Anthem
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Keith Terrett
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SheetMusicPlus
The Best Hymns of All Time (for Wind Instruments) Book 2
Concert band
Concert Band - Level 2 - Digital Download SKU: A0.522171 Composed by Various. Arran…
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Concert Band - Level 2 - Digital Download SKU: A0.522171 Composed by Various. Arranged by Colin Kirkpatrick. Praise & Worship,Sacred. Score and parts. 123 pages. Colin Kirkpatrick Publications #5726781. Published by Colin Kirkpatrick Publications (A0.522171). Here’s a terrific collection of sixty of the best-loved hymns ever composed. The hymns are scored in four parts and could be used with virtually any combination of conventional wind instruments. They are presented in a set of three books and include full four-part instrumental scores plus separate parts in a variety of useful transpositions. Parts 1 and 2 (soprano and alto) are provided in B flat, E flat and C (8ve higher than concert); Part 3 (tenor) in B flat (9th above concert), E flat, F and C (bass clef) and Part 4 (bass) in B flat, E flat and C. There’s also an optional but useful simplified keyboard part intended for less experienced keyboard players. The left hand plays only the bass part most of the time, with the right hand part kept as simple as possible. It could be used as the basis of an accompaniment and means that you can use the arrangements as solos, duets or trios. The piano part too means that you can use the arrangements as solos, duets or trios. These arrangements are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing. This is essential music for schools and many churches and contains probably all the hymns you’ll ever need. The entire collection of scores and parts is presented in a single 123-page PDF file for instant download. Book 2 contains the following twenty popular hymns: A Mighty Fortress is our God (Ein Feste Burg); Awake my Soul (Morning Hymn); All Creatures of our God and King (Lasst uns Erfreuen); All People that on Earth do Dwell (Old Hundredth); Angels we have Heard on High (Gloria); Be thou my Vision (Slane); Come Thou Font of Every Blessing (Nettleton); Eternal Father, Strong to Save (Melita); God moves in a Mysterious Way (London New); Glory to Thee, My God, This Night (Tallis Canon); How Sweet the Name of Jesus Sounds (St. Peter); Immortal, Invisible, God Only Wise (St. Denio); Onward, Christian Soldiers (St. Gertrude); Let us with a Gladsome Mind (Monkland) Love Divine, All Loves Excelling (Beecher); Praise my Soul, the King of Heaven (Lauda Anima); The Day Thou Gavest (St. Clement); The King of Love my Shepherd is (St. Columba); We Plough the Fields and Scatter (Wir pflügen); Lead Us, Heavenly Father, Lead Us (Mannheim). The music has been set in wind-friendly keys and the arrangements are compatible with the brass collection of the same name. They are not compatible with the string collection of the same name.
$31.99
28.66 €
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Concert band
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Various
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The Best Hymns of All Time
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Colin Kirkpatrick Publications
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SheetMusicPlus
Soon We Will Be Done (Downloadable)
Choral SATB
SATB choir and Piano - Medium - Digital Download SKU: MQ.1.3610-E Composed by Kyle …
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SATB choir and Piano - Medium - Digital Download SKU: MQ.1.3610-E Composed by Kyle Pederson. African American Heritage. Instrument part. 22 pages. Galaxy Music Corporation - Digital #1.3610-E. Published by Galaxy Music Corporation - Digital (MQ.1.3610-E). English. From the arranger, Kyle Pederson To me, spirituals are the most powerful type of music. Spirituals were birthed and rooted in the experience of chattel slavery in the United States—and arose out of, as Arthur C. Jones asserts, “deeply meaningful, archetypically human experiences, relevant not only to the specific circumstances of slavery but also to women and men struggling with issues of justice, freedom, and spiritual wholeness in all times and places.†The original text of Soon Ah Will Be Done is as follows: Soon ah will be done with the troubles of the world (repeat) Goin’ home to live with God No more weeping and a-wailing (repeat) Goin’ home to live with God I want t’ meet my mother (repeat) Goin’ home to live with God I want t’ meet my Jesus (repeat) Goin’ home to live with God When I sang this spiritual growing up, I was struck by both the withering sorrow and expectant hope throughout. The melody and emotion has stuck with me since. When approaching my own arrangement, I hoped to honor the voice of the original writers and their experience of slavery, and I also sought to extend a voice to people today who are suffering from oppression and discrimination. I hoped an appropriate way to honor the experience of the original writers might be to invite the contemporary listener to envision and commit to a better, more just world today—a world of inclusion, radical kindness, compassion, love, and grace—a world where we have the courage to champion the inherent dignity and value of all people, a world where we will be done with all the ways we deny a person’s worth. A world where “heaven has come to earth.†In this arrangement, spoken word is incorporated throughout, intended to heighten the intensity of the performance, and meant to give a sense of immediacy to the challenge for the choir and audience to work together for justice, equity, and wholeness. Spoken word has often been used as the language of protest—and I include it intentionally as a way of giving voice to the choir members (and listener)—where all can stand in solidarity against oppression and injustice. If desired, choir members are encouraged to write their own spoken word text that speaks to issues of inequity and injustice in their own communities. I am writing this program note not long after George Floyd was killed in Minneapolis, MN, on May 25, 2020. As a Minneapolis area resident for the past 25 years, I want to take a more active role in working towards justice in my community. All proceeds received from the sale and performance of Soon We Will Be Done will be directed to ISAIAH—a multi-racial, state-wide, nonpartisan coalition of faith communities fighting for racial and economic justice in Minnesota. You can read more about the phenomenal work ISAIAH is doing at isaiahmn.org.
$3.20
2.87 €
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Choral SATB
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Kyle Pederson
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Soon We Will Be Done
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Galaxy Music Corporation - Digital
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SheetMusicPlus
The Way We Used To Be
Piano, Voice
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.918197 By Eric Carmen. By Er…
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Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.918197 By Eric Carmen. By Eric Carmen. Arranged by Walter M. Gravador. Pop,Rock. Score. 13 pages. WaltMusik #5997237. Published by WaltMusik (A0.918197).
$4.99
4.47 €
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Piano, Voice
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Eric Carmen
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The Way We Used To Be
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WaltMusik
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SheetMusicPlus
We Believe (A Contemporary Creed)
Piano, Vocal and Guitar
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1241260 By Lisa Waite…
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1241260 By Lisa Waites. By Lisa Waites. Christian,Holiday,Praise & Worship,Religious,Sacred. Score. 2 pages. Servant Song Music and Ministry #836654. Published by Servant Song Music and Ministry (A0.1241260). We Believe gives you the opportunity to teach your congregation about the timeless truths of the Christian faith, making this contemporary creed a perfect choice for Trinity Sunday, Confirmation Sundays, Creation, Pentecost, the Baptism of Christ, Christ the King Sunday, or on any other pastoral occasion when you want to celebrate faith in Christ, the power of the Holy Spirit, and emphasize our Triune God. The simple, catchy melody of We Believe is paired with enough rhythmic interest to captivate singers of any level, while remaining highly accessible for beginners. Set in the key of D Major, the score is offered in a Piano/Vocal/Guitar format that your church musicians will appreciate. This three-verse hymn is short enough to be used as a sung congregational response after the confession of the Nicene or Apostle's Creed, or it can function liturgically as a contemporary sung creed as an alternative to the traditional, spoken creeds. Alternatively, this piece can be used as a contemporary hymn for many different pastoral occasions and scriptural themes. It also works well as part of a multi-song worship package.  Many Christians are not reading the Word regularly or attending church often enough to know the core content of the faith; this contemporary creed harnesses the power of music and rhythm to reinforce Trinitarian theology in a compelling and memorable way. Try it out with your congregants, and you'll be helping them to learn more about their faith while simultaneously lifting up their voices in praise to God!
$2.99
2.68 €
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Piano, Vocal and Guitar
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Lisa Waites
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We Believe
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Servant Song Music and Ministry
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SheetMusicPlus
DvoÅ™ák: Largo from the New World Symphony for Baritone Horn & Piano
Baritone Horn TC,Euphonium,Piano - Level 2 - Digital Download SKU: A0.552853 Compos…
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Baritone Horn TC,Euphonium,Piano - Level 2 - Digital Download SKU: A0.552853 Composed by Antonin Dvorak. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3494239. Published by jmsgu3 (A0.552853). Score: 7 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25 Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. Dvořák Background AntonÃn Dvořák (1841 –1904) was, of course, a composer from Czechoslovakia. As a matter of fact, he was among the first Bohemian composers to attain universal recognition. It is important to realize that the late Romantic Nationalist period featured composers who used traditional and folk elements to portray the character of their nation. In particular, we see this in the music of Grieg (Norway), Finland (Sibelius) and Smetana (Bohemia).  Dvořák relied markedly on rhythms and other characteristics of Moravian and Bohemian folk music. Ascent to Fame Dvořák was truly a child musical prodigy on the violin. The premiere performances of his compositions notably occurred 1872 and 1873. He submitted his First Symphony in particular to a German competition, but it failed to win. Consequently, in 1874 he submitted two more symphonies to the Austrian State Prize for Composition. Johannes Brahms was the principal of the jury and was accordingly very impressed. They forthwith awarded the prize to Dvořák in 1874, 1876 and 1877. At this point, Brahms thereupon endorsed Dvořák to the publisher Simrock. Later, the publisher commissioned Dvořák therefore to compose the Slavonic Dances, Op. 46. These became popular overnight and, as a result, Dvořák's worldwide status was launched. International Status Dvořák visited England upon invitation all in all nine times. On each visit, he frequently conducted performances of his own compositions. He conducted concerts of his music, especially in Moscow and St. Petersburg. Eventually, the Prague Conservatory in fact appointed Dvořák as a professor. There, to be sure, he wrote his famous Dumky Trio. United States Consequently, the National Conservatory of Music of America appointed him as director in 1892. As a result, Dvořák composed his two most famous symphonic works: the Symphony No. 9 (From the New World), which spread his name universally, and his Concerto for Cello and Orchestra, one of the most famous of all cello works. Moreover, he wrote his most celebrated American String Quartet during this time. At the same time, because of his growing recognition in Europe and his homesickness for his own country, he left to return to Bohemia in 1895.
$32.95
29.52 €
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Antonin Dvorak
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dynamic control
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DvoÅ™ák: Largo from the New World Symphony for Baritone Horn & Piano
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jmsgu3
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SheetMusicPlus
Jesus Shall Reign Where'er the Sun
Piano solo
Piano Solo - Level 5 - Digital Download SKU: A0.828227 Composed by John Hatton. Arr…
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Piano Solo - Level 5 - Digital Download SKU: A0.828227 Composed by John Hatton. Arranged by Paul Thurmond. 20th Century,Baroque,Christian,Sacred. Score. 7 pages. Paul Thurmond #4968929. Published by Paul Thurmond (A0.828227). Tune: DUKE STREETUse: Prelude, PostludeOne Sunday my church was singing Jesus Shall Reign Where’er the Sun as the opening hymn. It’s our tradition that the last stanza of a hymn is sung in unison, so that I as the organist can change the harmonization and keep things interesting. Sometimes I know ahead of time what I’m going to do, and sometimes I make it up on the spot.On this particular morning I planned on being spontaneous. (Can spontaneity be planned?) When we got to the final stanza, I threw on the 16′ pedal reed and went to town.I don’t know if this is the case for all musicians, but while I’m playing my brain is working on several different levels. Most of these are involved in actually playing the music, but there’s also a running commentary on how things are going. This commentary is usually really boring: It’s going okay. It’s going okay. It’s going okay. Sometimes the messages are more interesting: Uh-oh. She just dropped her mute. I missed that chord; remember to circle it when we’re done. My page turner appears to be on fire.So: We’re in the final stanza of Jesus Shall Reign Where’er the Sun. Big, majestic hymn. Over a hundred congregants and choir members are enthusiastically singing in unison. I’m leading them from the organ with an improvised accompaniment that involves all of my limbs. It’s fair to say that I was concentrating hard.Suddenly the commentary part of my brain breaks in: Dude, your feet are totally playing Canon in D. Cool!Canon in D is the most famous work of Johann Pachelbel, a German composer who preceded Bach by a few decades. It’s overused at weddings, but it’s actually a really good piece of music. The original is for three violins and a basso continuo part, which would usually have been played by harpsichord and cello. In this case, the basso continuo plays the same eight measures again and again throughout the piece. This technique of repetition is called a ground bass. While that’s going on, the violins play several different themes on top of it.When I was improvising that Sunday, my feet had accidentally wandered into that ground bass part, which happened to fit nicely with the melody we were singing. During the sermon (sorry Pastor!) I started going through the violin themes in my head, seeing if any of them could also match up with the hymn tune. Some of them worked and some didn’t. I decided to write a sort of theme and variations, where the hymn tune appears in various forms. Sometimes it’s played along with one of the violin themes, and sometimes a violin theme serves as an interlude on its own. And except for one passage, the left hand is always playing some version of the basso continuo theme. I also changed the meter from 4/4 to 3/4 to make it more interesting. It culminates in a climax worthy of a king. I hope you enjoy it.
$4.99
4.47 €
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Piano solo
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John Hatton
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Jesus Shall Reign Where'er the Sun
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Paul Thurmond
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SheetMusicPlus
Abraham’s Daughter: March from the Civil War
Concert band
Concert Band - Level 3 - Digital Download SKU: A0.818257 By Stephen R Dalrymple. By…
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Concert Band - Level 3 - Digital Download SKU: A0.818257 By Stephen R Dalrymple. By Septimus Winter. Arranged by Stephen R Dalrymple (Dalrymple Designs). Folk. Score and parts. 54 pages. Stephen R Dalrymple #3566019. Published by Stephen R Dalrymple (A0.818257). Abraham’s Daughter: March from the Civil War ♫ by Septimus Winter (1861) ♫ with When Johnny Comes Marching Home by Patrick Gilmore a.k.a. Louis Lambert (1863). ♫ arranged for concert band by Stephen R Dalrymple ♫ After a family trip to Gettysburg, Antietam, Harper’s Ferry, and Ford Theater, I created a concert band arrangement to solidify the trip in my mind using a popular Civil War song from the North, “Abraham’s Daughter,†and a song used by both North and South, “Johnny Comes Marching Home.†♫ Music was a means for soldiers to release the tensions of war. By December 1861 the Union army had 28,000 musicians in 618 bands, not counting soldiers who travelled with violins and other musical instruments. Soldiers often sang as they marched by day and at night in camp. Musical duels were not uncommon between Union and Confederate bands. This idea inspired the last section of the arranger where the 2 songs are played against each other. ♫ Septimus Winner wrote “Abraham’s Daughter†in 1861 for the Minstrel stage. “Abraham’s Daughter†pictures a fresh recruit that is on his way to Washington DC to be processed and trained for future battles. ♫ Given the unpublished verses we have, Abraham’s Daughter was undoubtedly sung and embellished by Union soldiers as they travelled from battlefield to battlefield. ♫ Winner is also known for writing “Ten Little Injuns†“Listen to the Mockingbird†and “Where, Oh Where Has My Little Dog Gone?†♫ Abraham Lincoln had 4 sons, Robert Todd, Edward Baker, William Wallace, and Thomas (Tad); but no daughters. So, who is Abraham’s daughter? ♫ Oh! Should you ask me who she am, Columbia is her name, sir; She is the child of Abraham, Or Uncle Sam, the same, sir. Now if I fight, why ain't I right? And don't you think I oughter. The volunteers are a-pouring in From every loyal quarter, And I'm goin' down to Washington To fight for Abraham's daughter. ♫ At the beginning of the war, the majority of soldiers, North and South, were fighting to uphold their view of government, each side justifying its position by quoting the Constitution. Southern States saw each State as a sovereign, independent nation. Abraham Lincoln insisted that the United States were one nation. For Abraham Lincoln, the purpose of the war was to preserve the Union. The undivided union was Lincoln’s daughter. ♫ arrangement © 2000, 2013 Stephen R Dalrymple ♫ recording ℗ 2021 Stephen R Dalrymple ♫ presentation © 2021 Stephen R Dalrymple ♫ sequenced by the arranger ♫ Purchase price includes permission to make photocopies of parts and additional scores for a medium size school band. ♫ This .pdf file includes 1) Condensed Conductor’s Score 2) Individual parts for: Instrumentation: Flute, Oboe, Clarinet 1, Clarinet 2, Alto Clarinet, Bass Clarinet, Alto Sax, Tenor Sax, Baritone Sax, Bassoon, Trumpet 1, Trumpet 2, F Horn, Trombone, Treble Clef Baritone, Tuba, Electric Bass, Snare and Bass Drums, Cymbals, and Bells. 3) Condensed Conductor’s Score in a smaller format for use in a 10 inch tablet 4) The same parts formatted for a 10 inch tablet. ♫ The YouTube video contains a full recording.
$19.00
17.02 €
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Concert band
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Stephen R Dalrymple
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but no daughters
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Abraham’s Daughter: March from the Civil War
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Stephen R Dalrymple
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SheetMusicPlus
THE MISSING LINK
Piano solo
Piano Solo - Digital Download SKU: A0.1012749 Composed by Monica Bergo. Contemporar…
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Piano Solo - Digital Download SKU: A0.1012749 Composed by Monica Bergo. Contemporary. Score. 9 pages. Moni Bergo #5743669. Published by Moni Bergo (A0.1012749). Music and song composed by me, dedicated to my sister dead THE MISSING LINK I often still get surprised looking for you between people in a gesture in an instant in an evasive shadow and I remain hooked between past and present a recurring sensation alone among people. Lying and pretending than inside me nothing is missing a pathetic clown always happy and smiley I write music and words to tame the fire inside me because only we know where this pain is taking us where are you? where are you? my sweet missing link you will come back to fill my mind I step back once again and I am limbing next to you hand in hand resigned, while the grey was oppressing for the two of us at every awakening a battle would start I pushed that moment back I didn't wanna be awake but you always protected me even from a cruel child my fearless sister so storng and independent you used to talk to me about guys and how to kiss them I used to blush and my heart beating fast I will look for and call my missing ring and you will answer with the same silence used to ask me if you were beautiful with that storng make up on you looked like a sad Pierrot tired of being avoided you were uncomofortable and people used to push you away many ignorant hypocrits looking like saints and again the two of us together in the open abyss me climbing up slowly but you remain behind I give you my hand but your destiny was written you fall down deep and far in that damned hell it will shine, it will shine my missing ring I will show it proudly to the people and you flew away in that boiling July the freeze inside my heart you, unconscous and paralyzed and for your last travel few hopeless people for the life she used to live it's better that she s gone but they know nothing about it about your unheard shout of my diamonds ring dropped in the mud freedom is a meaningless word oh you, bling and deaf butterfly your wings are now open you will fly, I will fly and I will delete the distance I will find my missing ring.. Monica Bergo
$5.00
4.48 €
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Piano solo
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Monica Bergo
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THE MISSING LINK
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Moni Bergo
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SheetMusicPlus
"Joyful, Joyful, We Adore Thee" for 8-note C major diatonic scale Tongue Drum
Hand Drum,Handpan,Instrumental Solo,Steel Pan - Level 1 - Digital Download SKU: A0.5699…
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Hand Drum,Handpan,Instrumental Solo,Steel Pan - Level 1 - Digital Download SKU: A0.569908 By Sharon Wilson. By Ludwig van Beethoven. Arranged by Sharon Wilson. Baroque,Classical,Holiday,Sacred,Traditional. Individual part. 10 pages. Sharon Wilson #6685593. Published by Sharon Wilson (A0.569908). This sheet music is notated for C major diatonic scale Tongue Drums (suitable for any 8, 11, or 13-note drum in the key of C). This hymn arrangement can be performed as a solo, as rhythmic chord accompaniment for singing, or as a duet. Four separate scores are provided for maximum flexibility. Whether beginner or experienced musician, these scores can be used in numerous ways from solo playing to playing with a partner or as a group. A note and chord reference chart is included as well as a rhythm pattern chart. Descriptions, suggestions, and uses for each score and chart are detailed on the introduction page and summarized below:Melody ScoreThis score can be played as a solo with or without singing along. Those new to reading standard music notation as well as those already familiar with music notation will find the numbers above the staff helpful. These numbers correspond to the numbers on the Tongue Drum. Lyrics appear below the staff for sing along enjoyment. Harmony ScoreThis score can be used in conjunction with the Melody Score to form a duet by providing the accompaniment (harmony) while someone plays or sings the melody. Note numbers below the staff corresponding to the numbers on the drum. Chord names are shown above the staff for playing a rhythmic accompaniment in place of the harmony accompaniment shown. The chord names can also be used for ensemble playing with other instruments (such as a Ukulele or Guitar).Grand StaffThe Grand Staff score combines the Melody Score with the Harmony Score. This score provides a visual overview of how the two scores line up and is helpful for a director or teacher using this set of scores in a group setting. If playing with a partner (a duet), this score may be easier to use since you both can see what the other person is playing. This score includes note numbers above the melody staff and below the harmony staff corresponding to the numbers on the drum; chord names shown above the harmony staff for ensemble playing with other instruments or for using a rhythmic chord accompaniment; and lyrics between the staves for sing along enjoyment. Advanced Solo ScoreThe Advanced Solo score includes harmony notes along with the melody notes to create a fuller sounding solo which can be played with or without singing along. Numbers corresponding to the numbers on the Tongue Drum are included above the staff.Note and Chord ChartThis chart consists of two separate staff rows. The first staff shows the notes used for the melody. The second staff shows the notes in each chord used in this song. Any combination of the notes within a given chord can be played using one of the rhythm patterns. Rhythm ChartThis chart shows four rhythm patterns that can be used as an accompaniment for the melody. Using the Harmony Score or the Grand Staff, follow the chord names to play notes from the given chord using one of the rhythm patterns.This arrangement is one of the 10 songs in the collection Hymns of Praise for 8-note C major diatonic scale Tongue Drums (A collection of 10 Solos and Duets).Visit Sharon Wilson's website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$3.99
3.57 €
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Sharon Wilson
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"Joyful, Joyful, We Adore Thee" for 8-note C major diatonic scale Tongue Drum
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Sharon Wilson
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SheetMusicPlus
DvoÅ™ák: Largo from the New World Symphony for Bass Flute & Piano
Bass Flute,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.549430 Comp…
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Bass Flute,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.549430 Composed by Antonin Dvorak. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and individual part. 12 pages. Jmsgu3 #3494193. Published by jmsgu3 (A0.549430). Score: 7 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25 Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs.  Dvořák Background AntonÃn Dvořák (1841 –1904) was, of course, a composer from Czechoslovakia. As a matter of fact, he was among the first Bohemian composers to attain universal recognition. It is important to realize that the late Romantic Nationalist period featured composers who used traditional and folk elements to portray the character of their nation. In particular, we see this in the music of Grieg (Norway), Finland (Sibelius), and Smetana (Bohemia).  Dvořák relied markedly on rhythms and other characteristics of Moravian and Bohemian folk music. Ascent to Fame Dvořák was truly a child musical prodigy on the violin. The premiere performances of his compositions notably occurred in 1872 and 1873. He submitted his First Symphony in particular to a German competition, but it failed to win. Consequently, in 1874 he presented two more symphonies to the Austrian State Prize for Composition. Johannes Brahms was the principal of the jury and was accordingly very impressed. They forthwith awarded the prize to Dvořák in 1874, 1876, and 1877. At this point, Brahms thereupon endorsed Dvořák to the publisher Simrock. Later, the publisher commissioned Dvořák to compose the Slavonic Dances, Op. 46. These became popular overnight and, as a result, Dvořák's worldwide status was launched. International Status Dvořák visited England upon invitation nine times. On each visit, he frequently conducted performances of his own compositions. He conducted concerts of his music, especially in Moscow and St. Petersburg. Eventually, the Prague Conservatory in fact appointed Dvořák as a professor. There, to be sure, he wrote his famous Dumky Trio. United States Consequently, the National Conservatory of Music of America appointed him as director in 1892. As a result, Dvořák composed his two most famous symphonic works: the Symphony No. 9 (From the New World), which spread his name universally, and his Concerto for Cello and Orchestra, one of the most famous of all cello works. Moreover, he wrote his most celebrated American String Quartet during this time. At the same time, because of his growing recognition in Europe and his homesickness for his own country, he left to return to Bohemia in 1895.
$32.95
29.52 €
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Antonin Dvorak
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dynamic control
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DvoÅ™ák: Largo from the New World Symphony for Bass Flute & Piano
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jmsgu3
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SheetMusicPlus
DvoÅ™ák: Largo from the New World Symphony for Trombone & Piano
Trombone and Piano
Piano,Trombone - Level 2 - Digital Download SKU: A0.549436 Composed by AntonÃn D…
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Piano,Trombone - Level 2 - Digital Download SKU: A0.549436 Composed by AntonÃn Dvořák. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3494231. Published by jmsgu3 (A0.549436). Score: 7 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25 Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. Dvořák Background AntonÃn Dvořák (1841 –1904) was, of course, a composer from Czechoslovakia. As a matter of fact, he was among the first Bohemian composers to attain universal recognition. It is important to realize that the late Romantic Nationalist period featured composers who used traditional and folk elements to portray the character of their nation. In particular, we see this in the music of Grieg (Norway), Finland (Sibelius), and Smetana (Bohemia).  Dvořák relied markedly on rhythms and other characteristics of Moravian and Bohemian folk music. Ascent to Fame Dvořák was truly a child musical prodigy on the violin. The premiere performances of his compositions notably occurred in 1872 and 1873. He submitted his First Symphony in particular to a German competition, but it failed to win. Consequently, in 1874 he presented two more symphonies to the Austrian State Prize for Composition. Johannes Brahms was the principal of the jury and was accordingly very impressed. They forthwith awarded the prize to Dvořák in 1874, 1876, and 1877. At this point, Brahms thereupon endorsed Dvořák to the publisher Simrock. Later, the publisher commissioned Dvořák to compose the Slavonic Dances, Op. 46. These became popular overnight and, as a result, Dvořák's worldwide status was launched. International Status Dvořák visited England upon invitation nine times. On each visit, he frequently conducted performances of his own compositions. He conducted concerts of his music, especially in Moscow and St. Petersburg. Eventually, the Prague Conservatory in fact appointed Dvořák as a professor. There, to be sure, he wrote his famous Dumky Trio. United States Consequently, the National Conservatory of Music of America appointed him as director in 1892. As a result, Dvořák composed his two most famous symphonic works: the Symphony No. 9 (From the New World), which spread his name universally, and his Concerto for Cello and Orchestra, one of the most famous of all cello works. Moreover, he wrote his most celebrated American String Quartet during this time. At the same time, because of his growing recognition in Europe and his homesickness for his own country, he left to return to Bohemia in 1895. Â
$32.95
29.52 €
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Trombone and Piano
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AntonÃn Dvořák
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dynamic control
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DvoÅ™ák: Largo from the New World Symphony for Trombone & Piano
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jmsgu3
#
SheetMusicPlus
DvoÅ™ák: Largo from the New World Symphony for Clarinet & Piano
Clarinet and Piano
B-Flat Clarinet,Piano - Level 2 - Digital Download SKU: A0.549420 Composed by Anton…
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B-Flat Clarinet,Piano - Level 2 - Digital Download SKU: A0.549420 Composed by Antonin Dvorak. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3493999. Published by jmsgu3 (A0.549420). Score: 7 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25 Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. Dvořák Background AntonÃn Dvořák (1841 –1904) was, of course, a composer from Czechoslovakia. As a matter of fact, he was among the first Bohemian composers to attain universal recognition. It is important to realize that the late Romantic Nationalist period featured composers who used traditional and folk elements to portray the character of their nation. In particular, we see this in the music of Grieg (Norway), Finland (Sibelius), and Smetana (Bohemia).  Dvořák relied markedly on rhythms and other characteristics of Moravian and Bohemian folk music. Ascent to Fame Dvořák was truly a child musical prodigy on the violin. The premiere performances of his compositions notably occurred in 1872 and 1873. He submitted his First Symphony in particular to a German competition, but it failed to win. Consequently, in 1874 he presented two more symphonies to the Austrian State Prize for Composition. Johannes Brahms was the principal of the jury and was accordingly very impressed. They forthwith awarded the prize to Dvořák in 1874, 1876, and 1877. At this point, Brahms thereupon endorsed Dvořák to the publisher Simrock. Later, the publisher commissioned Dvořák to compose the Slavonic Dances, Op. 46. These became popular overnight and, as a result, Dvořák's worldwide status was launched. International Status Dvořák visited England upon invitation nine times. On each visit, he frequently conducted performances of his own compositions. He conducted concerts of his music, especially in Moscow and St. Petersburg. Eventually, the Prague Conservatory in fact appointed Dvořák as a professor. There, to be sure, he wrote his famous Dumky Trio. United States Consequently, the National Conservatory of Music of America appointed him as director in 1892. As a result, Dvořák composed his two most famous symphonic works: the Symphony No. 9 (From the New World), which spread his name universally, and his Concerto for Cello and Orchestra, one of the most famous of all cello works. Moreover, he wrote his most celebrated American String Quartet during this time. At the same time, because of his growing recognition in Europe and his homesickness for his own country, he left to return to Bohemia in 1895. Â
$32.95
29.52 €
#
Clarinet and Piano
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Antonin Dvorak
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dynamic control
#
DvoÅ™ák: Largo from the New World Symphony for Clarinet & Piano
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jmsgu3
#
SheetMusicPlus
DvoÅ™ák: Largo from the New World Symphony for Alto Flute & Piano
Flute and Piano
Flute,Piano - Level 2 - Digital Download SKU: A0.549429 Composed by Antonin Dvorak.…
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Flute,Piano - Level 2 - Digital Download SKU: A0.549429 Composed by Antonin Dvorak. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3494181. Published by jmsgu3 (A0.549429). Score: 7 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. Dvořák Background AntonÃn Dvořák (1841 –1904) was, of course, a composer from Czechoslovakia. As a matter of fact, he was among the first Bohemian composers to attain universal recognition. It is important to realize that the late Romantic Nationalist period featured composers who used traditional and folk elements to portray the character of their nation. In particular, we see this in the music of Grieg (Norway), Finland (Sibelius), and Smetana (Bohemia).  Dvořák relied markedly on rhythms and other characteristics of Moravian and Bohemian folk music. Ascent to Fame Dvořák was truly a child musical prodigy on the violin. The premiere performances of his compositions notably occurred in 1872 and 1873. He submitted his First Symphony in particular to a German competition, but it failed to win. Consequently, in 1874 he presented two more symphonies to the Austrian State Prize for Composition. Johannes Brahms was the principal of the jury and was accordingly very impressed. They forthwith awarded the prize to Dvořák in 1874, 1876, and 1877. At this point, Brahms thereupon endorsed Dvořák to the publisher Simrock. Later, the publisher commissioned Dvořák to compose the Slavonic Dances, Op. 46. These became popular overnight and, as a result, Dvořák's worldwide status was launched. International Status Dvořák visited England upon invitation nine times. On each visit, he frequently conducted performances of his own compositions. He conducted concerts of his music, especially in Moscow and St. Petersburg. Eventually, the Prague Conservatory in fact appointed Dvořák as a professor. There, to be sure, he wrote his famous Dumky Trio. United States Consequently, the National Conservatory of Music of America appointed him as director in 1892. As a result, Dvořák composed his two most famous symphonic works: the Symphony No. 9 (From the New World), which spread his name universally, and his Concerto for Cello and Orchestra, one of the most famous of all cello works. Moreover, he wrote his most celebrated American String Quartet during this time. At the same time, because of his growing recognition in Europe and his homesickness for his own country, he left to return to Bohemia in 1895. Â
$32.95
29.52 €
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Flute and Piano
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Antonin Dvorak
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dynamic control
#
DvoÅ™ák: Largo from the New World Symphony for Alto Flute & Piano
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jmsgu3
#
SheetMusicPlus
DvoÅ™ák: Largo from the New World Symphony for Flute & Piano
Flute and Piano
Flute,Piano - Level 2 - Digital Download SKU: A0.549422 Composed by Antonin Dvorak.…
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Flute,Piano - Level 2 - Digital Download SKU: A0.549422 Composed by Antonin Dvorak. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3493997. Published by jmsgu3 (A0.549422). Score: 7 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25 Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. Dvořák Background AntonÃn Dvořák (1841 –1904) was, of course, a composer from Czechoslovakia. As a matter of fact, he was among the first Bohemian composers to attain universal recognition. It is important to realize that the late Romantic Nationalist period featured composers who used traditional and folk elements to portray the character of their nation. In particular, we see this in the music of Grieg (Norway), Finland (Sibelius), and Smetana (Bohemia).  Dvořák relied markedly on rhythms and other characteristics of Moravian and Bohemian folk music. Ascent to Fame Dvořák was truly a child musical prodigy on the violin. The premiere performances of his compositions notably occurred in 1872 and 1873. He submitted his First Symphony in particular to a German competition, but it failed to win. Consequently, in 1874 he presented two more symphonies to the Austrian State Prize for Composition. Johannes Brahms was the principal of the jury and was accordingly very impressed. They forthwith awarded the prize to Dvořák in 1874, 1876, and 1877. At this point, Brahms thereupon endorsed Dvořák to the publisher Simrock. Later, the publisher commissioned Dvořák to compose the Slavonic Dances, Op. 46. These became popular overnight and, as a result, Dvořák's worldwide status was launched. International Status Dvořák visited England upon invitation nine times. On each visit, he frequently conducted performances of his own compositions. He conducted concerts of his music, especially in Moscow and St. Petersburg. Eventually, the Prague Conservatory in fact appointed Dvořák as a professor. There, to be sure, he wrote his famous Dumky Trio. United States Consequently, the National Conservatory of Music of America appointed him as director in 1892. As a result, Dvořák composed his two most famous symphonic works: the Symphony No. 9 (From the New World), which spread his name universally, and his Concerto for Cello and Orchestra, one of the most famous of all cello works. Moreover, he wrote his most celebrated American String Quartet during this time. At the same time, because of his growing recognition in Europe and his homesickness for his own country, he left to return to Bohemia in 1895.
$32.95
29.52 €
#
Flute and Piano
#
Antonin Dvorak
#
dynamic control
#
DvoÅ™ák: Largo from the New World Symphony for Flute & Piano
#
jmsgu3
#
SheetMusicPlus
DvoÅ™ák: Largo from the New World Symphony for Piccolo & Piano
Instrumental Solo,Piano,Piccolo - Level 2 - Digital Download SKU: A0.549434 Compose…
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Instrumental Solo,Piano,Piccolo - Level 2 - Digital Download SKU: A0.549434 Composed by AntonÃn Dvořák. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and individual part. 12 pages. Jmsgu3 #3494221. Published by jmsgu3 (A0.549434). Score: 7 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25 Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. Dvořák Background AntonÃn Dvořák (1841 –1904) was, of course, a composer from Czechoslovakia. As a matter of fact, he was among the first Bohemian composers to attain universal recognition. It is important to realize that the late Romantic Nationalist period featured composers who used traditional and folk elements to portray the character of their nation. In particular, we see this in the music of Grieg (Norway), Finland (Sibelius), and Smetana (Bohemia).  Dvořák relied markedly on rhythms and other characteristics of Moravian and Bohemian folk music. Ascent to Fame Dvořák was truly a child musical prodigy on the violin. The premiere performances of his compositions notably occurred in 1872 and 1873. He submitted his First Symphony in particular to a German competition, but it failed to win. Consequently, in 1874 he presented two more symphonies to the Austrian State Prize for Composition. Johannes Brahms was the principal of the jury and was accordingly very impressed. They forthwith awarded the prize to Dvořák in 1874, 1876, and 1877. At this point, Brahms thereupon endorsed Dvořák to the publisher Simrock. Later, the publisher commissioned Dvořák to compose the Slavonic Dances, Op. 46. These became popular overnight and, as a result, Dvořák's worldwide status was launched. International Status Dvořák visited England upon invitation nine times. On each visit, he frequently conducted performances of his own compositions. He conducted concerts of his music, especially in Moscow and St. Petersburg. Eventually, the Prague Conservatory in fact appointed Dvořák as a professor. There, to be sure, he wrote his famous Dumky Trio. United States Consequently, the National Conservatory of Music of America appointed him as director in 1892. As a result, Dvořák composed his two most famous symphonic works: the Symphony No. 9 (From the New World), which spread his name universally, and his Concerto for Cello and Orchestra, one of the most famous of all cello works. Moreover, he wrote his most celebrated American String Quartet during this time. At the same time, because of his growing recognition in Europe and his homesickness for his own country, he left to return to Bohemia in 1895.  Â
$32.95
29.52 €
#
AntonÃn Dvořák
#
dynamic control
#
DvoÅ™ák: Largo from the New World Symphony for Piccolo & Piano
#
jmsgu3
#
SheetMusicPlus
DvoÅ™ák: Largo from the New World Symphony for Bass Clarinet & Piano
Bass Clarinet, Piano
Bass Clarinet,Piano - Level 2 - Digital Download SKU: A0.549432 Composed by Antonin…
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Bass Clarinet,Piano - Level 2 - Digital Download SKU: A0.549432 Composed by Antonin Dvorak. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3494207. Published by jmsgu3 (A0.549432). Score: 7 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25 Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. Dvořák Background AntonÃn Dvořák (1841 –1904) was, of course, a composer from Czechoslovakia. As a matter of fact, he was among the first Bohemian composers to attain universal recognition. It is important to realize that the late Romantic Nationalist period featured composers who used traditional and folk elements to portray the character of their nation. In particular, we see this in the music of Grieg (Norway), Finland (Sibelius), and Smetana (Bohemia).  Dvořák relied markedly on rhythms and other characteristics of Moravian and Bohemian folk music. Ascent to Fame Dvořák was truly a child musical prodigy on the violin. The premiere performances of his compositions notably occurred in 1872 and 1873. He submitted his First Symphony in particular to a German competition, but it failed to win. Consequently, in 1874 he presented two more symphonies to the Austrian State Prize for Composition. Johannes Brahms was the principal of the jury and was accordingly very impressed. They forthwith awarded the prize to Dvořák in 1874, 1876, and 1877. At this point, Brahms thereupon endorsed Dvořák to the publisher Simrock. Later, the publisher commissioned Dvořák to compose the Slavonic Dances, Op. 46. These became popular overnight and, as a result, Dvořák's worldwide status was launched. International Status Dvořák visited England upon invitation nine times. On each visit, he frequently conducted performances of his own compositions. He conducted concerts of his music, especially in Moscow and St. Petersburg. Eventually, the Prague Conservatory in fact appointed Dvořák as a professor. There, to be sure, he wrote his famous Dumky Trio. United States Consequently, the National Conservatory of Music of America appointed him as director in 1892. As a result, Dvořák composed his two most famous symphonic works: the Symphony No. 9 (From the New World), which spread his name universally, and his Concerto for Cello and Orchestra, one of the most famous of all cello works. Moreover, he wrote his most celebrated American String Quartet during this time. At the same time, because of his growing recognition in Europe and his homesickness for his own country, he left to return to Bohemia in 1895.
$32.95
29.52 €
#
Bass Clarinet, Piano
#
Antonin Dvorak
#
dynamic control
#
DvoÅ™ák: Largo from the New World Symphony for Bass Clarinet & Piano
#
jmsgu3
#
SheetMusicPlus
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