Version française
Free Sheet music
Instruments
ACCORDION
BAGPIPE
BALALAIKA
BANJO
BASS
BASSOON
BLANK SHEET…
BOOKS
BOUZOUKI
BUGLE
CELLO - VIO…
CHARANGO
CHOIR - VOC…
CLARINET
CORNET
DOBRO - GUI…
DOUBLE BASS
DRUM
DULCIMER
ELECTRONIC …
ENGLISH HOR…
EUPHONIUM
FLUGELHORN
FLUTE
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
HORN
LUTE, THEOR…
MANDOLIN
MARCHING BA…
MARIMBA
MUSICAL COU…
NO SCORES
OBOE
ORCHESTRA -…
ORCHESTRA P…
ORGAN - ORG…
OTHER INSTR…
OUD
PANPIPES
PEDAL STEEL…
PERCUSSION
PIANO
RECORDER
SAXOPHONE
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLA
VIOLA DA GA…
VIOLIN - FI…
WHISTLE
XYLOPHONE
ZITHER
Home
Instrumentations
Composers
New additions
Top 100
Metronome
Staff paper
Musician's shop
Sheet music books
Digital sheet music
Music equipment
Gift ideas
About free-scores.com
Free
Sheet Music
60
Digital
Sheet Music
936
Sheet Music
Books
434
Music
Equipment
4
Digital scores
(access after purchase)
Post mailing
Digital sheet music
SORTING AND FILTERS
SORTING AND FILTERS
Sorting and filtering :
--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
ENGLISH HORN
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
style (all)
AFRICAN
AMERICANA
ASIAN
BLUEGRASS
BLUES
CELTIC - IRISH - SCO…
CHILDREN - KIDS : MU…
CHRISTIAN (contempor…
CHRISTMAS - CAROLS -…
CLASSICAL - BAROQUE …
CONTEMPORARY - 20-21…
CONTEMPORARY - NEW A…
COUNTRY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLK SONGS - TRADITI…
FRENCH SONGS
FUNK
GOSPEL - SPIRITUAL -…
HALLOWEEN
INSTRUCTIONAL : CHOR…
INSTRUCTIONAL : METH…
INSTRUCTIONAL : STUD…
JAZZ
JAZZ GYPSY - SWING
JEWISH - KLEZMER
LATIN - BOSSA - WORL…
LATIN POP ROCK
MEDIEVAL - RENAISSAN…
METAL - HARD
MOVIE (WALT DISNEY)
MOVIE - TV
MUSICALS - BROADWAYS…
OLD TIME - EARLY ROC…
OPERA
PATRIOTIC MUSIC
POLKA
POP ROCK - CLASSIC R…
POP ROCK - MODERN - …
POP ROCK - POP MUSIC
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
VIDEO GAMES
WEDDING - LOVE - BAL…
WORSHIP - PRAISE
Relevance
Best sellers
Prices - to +
Prices + to -
New releases
A-Z
skill (all)
beginner
easy
intermediate
avanced
expert
Sellers (all)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
with audio
with video
with play-along
Not classified
139
PIANO & KEYBOARDS
Piano solo
71
Easy Piano
42
Piano, Voice
29
Organ
20
Piano, Vocal and Guitar
10
2 Pianos, 4 hands
7
C Instruments
7
Piano Accompaniment
4
Instrumentations suivantes
Retracter
GUITARS
Guitar notes and tablatures
6
Melody line, (Lyrics) and Chords
5
Guitar Ensemble
1
Piano, Guitar (duet)
1
VOICE
Choral SATB
90
Choral 2-part
27
Choral 3-part
23
Choral Unison
17
Vocal duet, Piano
13
Choral TTBB
4
Choral SSAA
1
Alto voice, Piano
1
Instrumentations suivantes
Retracter
WOODWIND
2 Saxophones (duet)
25
Clarinet and Piano
16
2 Clarinets (duet)
13
Saxophone, Clarinet (duet)
13
Clarinet, Violin (duet)
10
Oboe, Piano (duet)
9
Alto Saxophone and Piano
9
Clarinet, Trumpet (duet)
8
2 Flutes (duet)
8
Soprano Saxophone and Piano
7
Tenor Saxophone and Piano
7
Flute, Clarinet (duet)
7
Flute, Oboe, Clarinet, Bassoon
7
Flute and Piano
6
Clarinet and Viola
5
English horn, Piano
5
Flute, Viola (duet)
5
Flute, Trumpet (duet)
5
2 Oboes (duet)
5
Oboe, Clarinet (duet)
4
Saxophone Quartet: 4 saxophones
4
3 Clarinets (trio)
4
Flute, Saxophone (duet)
3
Oboe, Bassoon (duet)
3
Baritone Saxophone, Piano
3
Oboe, Flute
3
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
3
3 Saxophones (trio)
3
Flute, Violin
3
Flute
2
Clarinet
2
Recorder
1
Descant (Soprano) Recorder
1
Flute Quartet: 4 flutes
1
Alto Saxophone
1
Descent (Soprano) Recorder, Piano
1
Oboe, Clarinet, Bassoon (trio)
1
Saxophone (band part)
1
Tenor Saxophone
1
Clarinet Quartet: 4 clarinets
1
2 Clarinets, Bassoon
1
Bass Clarinet, Piano
1
Treble (Alto) Recorder, Piano
1
Clarinet Ensemble
1
Instrumentations suivantes
Retracter
WOODBRASS
2 Trumpets (duet)
7
Trumpet, Piano
7
Trumpet, Saxophone (duet)
7
Trombone and Piano
6
English horn, Piano
5
Trumpet, Trombone (duet)
5
3 Trombones (trio)
5
French Horn and Piano
4
2 Trombones (duet)
3
Brass Quintet: 2 trumpets, horn, trombone, tuba
3
Trumpet
2
Brass Quartet: 2 trumpets, horn, trombone
2
Euphonium, Piano (duet)
1
Trumpet, Horn (duert)
1
Brass Trio
1
Brass Quartet: 2 trumpets, 2 trombones
1
Trombone
1
2 Euphoniums (duet)
1
Bass Trombone
1
Instrumentations suivantes
Retracter
STRINGS
String Quartet: 2 violins, viola, cello
41
Violin and Piano
11
Cello, Piano
8
Violin, Cello (duet)
7
Viola, Piano
7
2 Violins (duet)
6
2 Cellos (duet)
6
2 Violas (duet)
6
Violin, Viola (duet)
6
Harp
2
Violin
1
Cello
1
String Trio: 3 cellos
1
Piano Trio: Violin, Viola, Piano
1
Instrumentations suivantes
Retracter
PERCUSSION & ORCHESTRA
Handbells
11
Brass ensemble
9
Concert band
6
Orchestra
6
String Orchestra
1
OTHERS
You've selected:
The Whole Ship
Sheetmusic to print
936 sheet music found
<
1
26
51
....
926
The Story Of Reuben Clamzo & His Strange Daughter
Choral TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…
(+)
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
3.58 €
#
Choral TTBB
#
Arlo Guthrie
#
The Story Of Reuben Clamzo & His Strange Daughter
#
Edition Craig Hanson
#
SheetMusicPlus
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
2 Pianos, 4 hands
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Rod…
(+)
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published by Jenni Roditi (A0.1497852). Piano Duo 2 pianos/4 hands. Curve, Between the Octaves points to a fugal past, where lines enter and build in stately flow. It invites lines to intermingle, without assuming they will all arrive somewhere, or at the same time. A certain intensity builds, then scales, both up and down, free themselves from the discussion of the interleaving lines. The chromaticism suggests curving between harmonies, and is nearly always ambivalent. An assertive chordal climax intervenes to shake off the tensions, yet this peels away into further curvatures that twist and twirl, until a final resting point agrees to present itself. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
17.92 €
#
2 Pianos, 4 hands
#
dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
#
Jenni Roditi
#
CURVE, Between the Octaves - A Piano Duo Suite
#
Jenni Roditi
#
SheetMusicPlus
I Saw Three Ships (Come Sailing In)(Solo Guitar with TAB)
Guitar notes and tablatures
Guitar - Level 3 - Digital Download SKU: A0.896159 Composed by Traditional English …
(+)
Guitar - Level 3 - Digital Download SKU: A0.896159 Composed by Traditional English Carol. Arranged by Antony Cull. Christian,Christmas,Praise & Worship,Sacred. Guitar Tab. 2 pages. Antony Cull #3382729. Published by Antony Cull (A0.896159). 'I Saw Three Ships (Come Sailing In)' arrangement for solo guitar by Antony Cull.IntroductionThis arrangement is aimed at intermediate level guitarists with a good control of natural harmonics and basic fingerstyle. The whole piece has the harmonic structure written in the chords above, which can be strummed by another player to turn the piece into a duet. Alternatively you can use these chords to accompany a singer and add the solo guitar arrangement as a introduction.Performance NotesThe first section outlines the basic harmony, often omitting notes from the chords above, to outline the melody. To keep each section distinct, keep the pace of this section slow and expressive.The next section has a celtic inspired feel, with the constant quavers throughout to drive the piece forward. Note the increase in tempo, but adjust to a comfortable speed for your ability as you are mostly aiming to play faster then the introduction. Practice this section slowly at first, taking time to choose the most comfortable finger position. Once you have the fingering locked in, work on making the melody pop out from the over all picking pattern, relax the attack on the thumb to help this.The third section uses natural harmonics to play the melody. To play a natural harmonic place you fretting finger lightly on the string above the stated fret. As you pick the string, remove your you finger and you should get a bell like tome that sounds a different pitch to the open string. Let each string ring out after each harmonic is played over the subsequent notes until another note is played on that string. In bar 19 and 23 there is a single fretted note so be prepared to switch technique on a dime. This will create a rich harp like feel to the piece that will give a really christmassy feel.The only big change in the coda is a gentle ritardando and an arppegiated harmonic across three strings. Gently place a finger across the three strings and role them off the as they are picked. Final ThoughtsI am a really big fan of tight arrangements and love constructing arrangements for my students. One of my greatest challenges is creating performance pieces for guitarists that don't sing. This is especially ponient during the holidays when everyone wants to hear all the classics. This piece is extremely musical and the harmonics are a real crowd pleaser. If you would like to know more about my music and the other arrangements and transcriptions, you can visit my website at www.antonycull.co.uk .
$2.49
2.23 €
#
Guitar notes and tablatures
#
Traditional English Carol
#
I Saw Three Ships
#
Antony Cull
#
SheetMusicPlus
Montenegrin National Anthem for Symphony Orchestra (Kt Olympic Anthem Series)
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.746971 Composed by Montenegrin …
(+)
Full Orchestra - Level 3 - Digital Download SKU: A0.746971 Composed by Montenegrin folk song. Arranged by Keith Terrett. 20th Century,Multicultural,Patriotic,Praise & Worship,Traditional,World. 27 pages. Keith Terrett #5205655. Published by Keith Terrett (A0.746971). The National Anthem of Montenegro arranged for Symphony Orchestra. There are versions for Brass Quintet & String Orchestra in my on-line stores.Oj, svijetla majska zoro (Montenegrin Cyrillic: „Ој, Ñвијетла мајÑка зоро, trans. Oh, Bright Dawn of May) is the official National anthem of Montenegro adopted in 2004. Before becoming the anthem, it was a popular folk song of the Montenegrins, with many variations of its text. The oldest one is dated to the 2nd half of the 19th century, known as Oh, Bright Dawn of Heroism, oh!, a popular Montenegrin folk song.It was played in public for the first time in 1863 in the national theater in Belgrade. It was a component song of the Battle of Grahovo or blood feud in Montenegro (Бој на Грахову или крвна оÑвета у Црној Гори) heroic play in three parts. It is unknown if the text’s authors are also the play’s, namely the following Montenegrin composer/writers: the father of Marko Car Jovan Car and an unknown Obrad Vitković. The play and the Montenegrin folk song was also played/sung in the National Theater again in 1870 and 1876. Its first record in Montenegro itself dates to 1887, when it was included into the regular school program of Montenegrin national songs for pupils in the 3rd grade. It was reconfirmed in the teacher’s plan for Montenegrin schools of 1888, which speculates that it must have been an established folk song for decades by then.Sekule Drljević, party strongman of a minor political party which was active in the Yugoslavian Kingdom in Montenegro known as the Montenegrin Federalist Party, rewrote the text and published it in 1937 in the book of then’s Croatian writer of Montenegrin origins Savić Marković Å tedimlija known as Crvena Hrvatska (Red Croatia), which confounded the thesis not of a Serb ethnic origin of the Montenegrins, which was the dominant one back then, but rather from the Croats. Its name was Eternal Ours… (VjeÄna naÅ¡a). When Nikola Hercigonja wrote down Oh, Bright Dawn of May shortly after WWII ended after 1945, he erroneously concluded that Drljević was the original wholesale author of this song, which also led to its considerable decline in popularity as a Montenegrin folk song altogether.The song survived until today under various names as a popular Montenegrin folk song under the name Oh, Bright Dawn of May (Oj svijetla majska zoro). This version of the song has been one of the several versions proposed in 1993 during the first discussion on the official anthem, however, on which there was no consensus because of the disputed melodic value.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 Love national anthems, then join me on twitter, facebook, instagram & soundcloud for frequent updates on my Olympic anthems!
$36.00
32.26 €
#
Orchestra
#
Montenegrin folk song
#
Montenegrin National Anthem for Symphony Orchestra
#
Keith Terrett
#
SheetMusicPlus
IGNITE, Between the Octaves - A Piano Duo Suite (Movement 7 of 7)
2 Pianos, 4 hands
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by…
(+)
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074279. Published by Jenni Roditi (A0.1497866). Piano Duo - 2 pianos/4 hands. Ignite, Between the Octaves began with the impetus of static ‘pulsation’ (its original title) on repeated octaves. The piece is a fizzing dash of nodal vortices, small, then larger, spinning and tumbling and all the way to the finish line. This piece brings the complete suite of 7 pieces to a dynamic close, with a sense of ignition to new beginnings. The music echoes the opening F octaves of Initiate (movement 1). Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
17.92 €
#
2 Pianos, 4 hands
#
dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
#
Jenni Roditi
#
IGNITE, Between the Octaves - A Piano Duo Suite
#
Jenni Roditi
#
SheetMusicPlus
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
2 Pianos, 4 hands
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by…
(+)
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. Published by Jenni Roditi (A0.1497861). Piano Duo 2 pianos/4 hands. Ritualise, Between the Octaves finally found its identity with the word ritualise. It began as announce, became pronounce, then declare and went as far a pontificate for a title. At that point I realised I was mocking my own music and needed to take it more seriously. Ritualise brought out a meaning to the music that I hadn’t wanted to admit to. It is quite folk-like, in a primal and entrancing kind of way. I can imagine a communal dance for some ceremonial purpose in this music with both public and private elements.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
17.92 €
#
2 Pianos, 4 hands
#
dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
#
Jenni Roditi
#
RITUALISE, Between the Octaves - A Piano Duo Suite
#
Jenni Roditi
#
SheetMusicPlus
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
2 Pianos, 4 hands
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Rod…
(+)
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published by Jenni Roditi (A0.1497843). Piano Duo - 2 pianos, 4 hands. Surrender, Between the Octaves was the piece that was composed first in the suite. It exposes a simple call to return to the beginning, to return to a pure act of listening. This note..ah, now that note.. oh. This is how the piece was written - one note at a time. Listening from within a space (its original title) of resonance, of edges and meetings, of disappearances and repetitions that reflect on this gentle body of notes. There is a slow hearing that may, or may not create a tone-journey.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
17.92 €
#
2 Pianos, 4 hands
#
dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
#
Jenni Roditi
#
SURRENDER, Between the Octaves, A Piano Duo Suite
#
Jenni Roditi
#
SheetMusicPlus
ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
2 Pianos, 4 hands
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by…
(+)
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. Published by Jenni Roditi (A0.1497857). Piano Duo 2 pianos/4 hands. Encircle, Between the Octaves, originally called rotate as its impetus was to generate a steadily rotating music. Encircle was later chosen as a more evocative word. The harmony surprised me as it suggested shifts and colourations that I would not have expected to conjure. Two upper rotating parts with melodic narrative are supported by bass and baritone lower parts. The final section adds a dance-like short form to end what could otherwise have run and run and run. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
17.92 €
#
2 Pianos, 4 hands
#
dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
#
Jenni Roditi
#
ENCIRCLE, Between the Octaves - A Piano Duo Suite
#
Jenni Roditi
#
SheetMusicPlus
By Bethesda's Pool, sacred music for SATB choir
Choral SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1208296 Composed by Kevin …
(+)
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1208296 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Sacred,Spiritual. Octavo. 11 pages. Kevin G. Pace #806402. Published by Kevin G. Pace (A0.1208296). A stunningly beautiful, sacred composition for SATB choir.  Music by Kevin G. Pace and text by Mary Ann W. Snowball.  Depicting the miracle of Jesus curing the man by the Pool of Bethesda.Text:By Bethesda’s special pool, each day they did wait.Blind and halt and withered there, each to not be late.By the pool the crippled lay; healing was the goal.Ere an angel’s touch was stirred, not one would be whole.Years and years a man stayed near, but with none to aid.Then the Savior came, unknown, to surround and stay.Wilt thou be made whole? was asked by the Healer there.I can’t reach the pool myself. These pains I must bear.Wilt thou be made whole? I can ease thy load.Can I heal thy sun-parched soul? May I make thee whole?Rise, and take thy bed and walk. These words Jesus spoke.Soon the man was cleansed and healed, as if he awoke.Had full faith been shown that day from this aged man?Can we also trust our Lord? Will we take his hand?By our own Bethesda pools in a sacred space,He can clearly mend our cares through (by) his wondrous grace.We can also rise like him o’er our doubts and fearsAs we linger, patiently, listening to hear.We can be made whole when his hand we hold.He can heal our holy souls; He will make us whole.
$1.99
1.78 €
#
Choral SATB
#
Bethesda’s special pool, each day they did wait
#
Kevin G
#
healing was the goal
#
By Bethesda's Pool, sacred music for SATB choir
#
Kevin G. Pace
#
SheetMusicPlus
The Home Coming March (1908) - Concert Band Score and Parts PDF
Concert band
Concert Band - Level 3 - Digital Download SKU: A0.750785 Composed by E. T. Paull (1…
(+)
Concert Band - Level 3 - Digital Download SKU: A0.750785 Composed by E. T. Paull (1908). Arranged by Brendan Elliget MAGA 537. Contemporary. Score and parts. 115 pages. BJE Music #3567783. Published by BJE Music (A0.750785). The Home Coming March (1908) - Concert Band Score and Parts PDF Music by: ET Paull Of course, eventually, all the soldiers and sailors had to eventually come home from all the battles and Paull had that eventuality well covered also. The artwork on the front cover (of unknown origin) is one that is full of imagery that covers all aspects of the services, Army and Navy and is full of patriotic and familial ideals. The border lists all of the US States and the corner pictures depict aspects of homecoming. The main image is a parade of victory. Let's let Paull explain it all to us as he did on the inside cover. Why This Piece Of Music Was Named The Home Coming March Explanatory When the author had about completed the music of the present march, it occurred to him that it might be well to have suggestions made from a number of people, recommending a good name for same, for after all there is considerable in a name. He, therefore, had a special advertisement placed in several of the leading music Journals throughout the country, offering a prize of $10.00 in gold to anyone suggesting a name that would be accepted. Over three thousand names were sent in from all parts of the country, even from far away New Zealand and Australia, in which countries the author's marches are universal favorites. Included in the letters received was one from Mr. W. C. Bates, Secretary of the Sheffield Advertising Agency of New York and Chicago, in which he suggested the name The Home Coming March. After due consideration, this name was accepted, and the prize was awarded and paid to Mr. Bates, who stated that he was prompted to recommend this name on account of having been present during the impressive celebration of Old Home Week in Boston, Mass., last year. Probably no one idea is so universally dominant in the mind of the Human Race as that of home, or matters pertaining to home. The author believes that the name selected is one that will appeal to everyone; as the many pleasant associations with the words Home Coming are almost without limit. The title page of this march is without any exception the handsomest seen on a piece of music. The main body of the title pace represents a street scene, with buildings decorated and shows a handsome royal Arch of Welcome in the foreground, gaily decorated with flags, emblems, and bunting. A band is shown passing under the arch, leading a procession of the Home Guard, and thousands of people waving handkerchiefs, banners, flags, etc. Four smaller scenes also appear on the page, one representing the Home Coming of the soldier from war; another scene shows the Home Coming of the sailor boys embarking from their battleships; another scene represents the Home Coming reunion of the family and loved ones; the fourth scene represents the Home Coming of the father from work, where a little tot has been watching and waiting, and runs to meet him. The whole design of the title page is then surrounded by a border of differently designed medallions, on which appears the names of all the States of the Union, making without a doubt, the most unique and attractive title page ever conceived for a piece of music. One thing Paull mastered early in his career was the art of overstatement! Musically, this march is beginning to show the repetitiveness of many of Paull's works, especially evident as time passed. Once Paull found the formula (a fabulous cover and a playable, rousing march) that sold music, he stuck with it and was quite successful as a result.This arrangement is for Full Concert Band with the original optional piano part ( Not on the score). There are parts for Trombones 1 and 2 in TC and BC as well as parts of Euphonium in TC and BC. The MP3 was recorded with NotePerformer 3.Grade = 3.5 Duration =.
$30.00
26.89 €
#
Concert band
#
E
#
The Home Coming March
#
BJE Music
#
SheetMusicPlus
INITIATE, Between the Octaves - A Piano Duo Suite (Movement 1 of 7)
2 Pianos, 4 hands
Instrumental Duet,Keyboard - Level 5 - Digital Download SKU: A0.1497831 Composed by…
(+)
Instrumental Duet,Keyboard - Level 5 - Digital Download SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. Published by Jenni Roditi (A0.1497831). For Piano Duo - 2 pianos/4hands. Initiate, Between the Octaves, the opening piece in the suite, is a sparky, rhythmic and post-modern hoquet, of some wit and almost perpetual bounciness. A ricocheting of quickly contrasting dynamics with occasional switches to distant moments. Three big plunges into legato emotional flow, release the popping bubbles of the fiery staccato material. A short final chorale settles and grounds the quick cuts, swoops and build ups that have propelled the whole piece. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
17.92 €
#
2 Pianos, 4 hands
#
dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
#
Jenni Roditi
#
INITIATE, Between the Octaves - A Piano Duo Suite
#
Jenni Roditi
#
SheetMusicPlus
THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7)
2 Pianos, 4 hands
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497847 Composed by Jenni Rod…
(+)
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published by Jenni Roditi (A0.1497847). Piano Duo 2 pianos/4 hands. Thread, Between the Octaves grew out of the call the make a single line weave between the octaves. Line was the original title. Thread, as a word, brings more texture to the title and describes what the line is actually doing, threading around the harmony. A secondary thread is heard after a while, echoing and shading the primary line, with its own treble weave. It was like going back to the beginning of making melody again.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
17.92 €
#
2 Pianos, 4 hands
#
dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
#
Jenni Roditi
#
THREAD, Between the Octaves A Piano Duo Suite
#
Jenni Roditi
#
SheetMusicPlus
The Harvest of the Earth (See How Brown Autumn Spreads the Fields) [Lead Sheet Version]
C Instruments
C Instrument - Level 3 - Digital Download SKU: A0.1381727 By Stacey Plays Hymns. By…
(+)
C Instrument - Level 3 - Digital Download SKU: A0.1381727 By Stacey Plays Hymns. By Stacey Plays Hymns. Arranged by Anastace. Christian,Historic,Praise & Worship,Religious,Sacred. Lead Sheet / Fake Book. 4 pages. Anastace #966363. Published by Anastace (A0.1381727). Here is the lead sheet version of the hymn, The Harvest of the Earthâ€, as heard on my YouTube channel and requsted by listeners. Originally titled “See How Brown Autumn Spreads the Fieldsâ€, this song is so rare that I couldn’t find any music for it online, and therefore wrote a new melody and accompaniment for it that captures the the solemnity and even anguish of the lyrics. It’s one of the songs of harvest off of my album entitled “Hymns of Autumnâ€, but doesn’t talk about harvest in the traditional sense we normally sing about these days.Not many talk about the judgement of God in today’s church, and this hymn will send chills down the spine of the most devout believer as we realize the full spectrum of God's character, including His wrath and power on Judgement Day. I found this in an old hymnal that was so old that the “Sâ€s were still written as “Fâ€s, and I had to squint to read it while learning to sing for this recording. I hope this ancient and powerful hymn finds a place to minister to today's church and believers around the world, perhaps after a sermon on God’s judgement, or for a Lent or Advent service about repentance and turning to God, both individually and as a nation.This version is in B Minor to match the original recording, and includes the chords for the whole song including the reharmonized verse with a different melody.Also available, by searching Stacey Plays Hymns and the song title on this site is the full piano vocal arrangement as played in the original recording.For other formats including large print, simplified, or extended choral harmony versions, please write me at staceyplayshymns@gmail.com and I'll be glad to make them especially for you. Purchase includes a free license for one church service with under 300 people, with proper attribution and credit in any printed or online materials. For a license to use this work on a larger scale, please contact me for permission and other usage details including lyrics formatted for printing in church bulletins or for powerpoint. Please let me know if there is any other way I can serve you as a congregation or fellow music/choir director as I endeavour to write several new choral anthems per year, along with my other recording work.Thank you for supporting modern hymnwriters and musicians!
$4.00
3.58 €
#
C Instruments
#
Stacey Plays Hymns
#
The Harvest of the Earth
#
Anastace
#
SheetMusicPlus
The Whole Ship
Piano solo
Piano Solo - Level 5 - Digital Download SKU: A0.1329143 By mime4REAL. By mime4REAL.…
(+)
Piano Solo - Level 5 - Digital Download SKU: A0.1329143 By mime4REAL. By mime4REAL. Arranged by mime4REAL. 20th Century,A Cappella,Advent. Score. 2 pages. The Fan Rockers #917118. Published by The Fan Rockers (A0.1329143).
$2.34
2.1 €
#
Piano solo
#
mime4REAL
#
The Whole Ship
#
The Fan Rockers
#
SheetMusicPlus
Count Your Blessings / There Shall Be Showers Of Blessing (Conta As Bênçãos / Chuva De Bênçãos)
Piano solo
Piano Solo - Digital Download SKU: A0.1407037 By Lucy Ferreira Rempel. By Edwin Exc…
(+)
Piano Solo - Digital Download SKU: A0.1407037 By Lucy Ferreira Rempel. By Edwin Excell / James McGranahan. Arranged by Lucy Ferreira Rempel. Christian,Praise & Worship,Sacred,Spiritual,Traditional. Score. 4 pages. Lucy Rempel #989736. Published by Lucy Rempel (A0.1407037). Count Your Blessings (with the hymn There Shall Be Showers Of Blessings), arrangement for piano solo.Composed by Edwin Excell and James McGranahan.Arranged by Lucy Ferreira Rempel.This arrangement for piano solo is a medley with the hymns Count Your Blessings and There Shall Be Showers Of Blessing.These two hymns were put together because of their complimentary messages and also for their similar musical character.The arrangement presents both hymns in a different rhythm than the original ones, making them sound light and  merry, which gives the message and the melody of each hymn a fresh meaning.The introduction theme creates the mood for the arrangement. This theme is presented also in the bridge that leads to the second hymn (There Shall Be Showers Of Blessing), and at the end as well.The whole arrangement is marked by a rhythmical and joyful  character, reminding us to be grateful for the blessings we've received and hopeful for the ones that are yet to come.This is one of the arrangements of the collection Deus, Somente Deus by Lucy Ferreira Rempel.Visit Lucy's website: https://en.lucyferreirarempel.com.br/Subscribe to her YouTube channel: Lucy Ferreira Rempel OficialListen to her music on Spotify: Lucy Ferreira RempelFollow her on Instagram and Facebook: @lucyferreirarempel / https://www.facebook.com/lucyferreirarempel
$10.00
8.96 €
#
Piano solo
#
Lucy Ferreira Rempel
#
Edwin Excell and James McGranahan
#
Count Your Blessings / There Shall Be Showers Of Blessing
#
Lucy Rempel
#
SheetMusicPlus
By the sea side
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.1074927 Composed by Edigles Guedes.…
(+)
Piano Solo - Level 3 - Digital Download SKU: A0.1074927 Composed by Edigles Guedes. Classical,Contemporary,Instructional,Praise & Worship,Spiritual. Score. 4 pages. Edigles Guedes #679184. Published by Edigles Guedes (A0.1074927). This song is a study in serial music. It is ideal for intermediate level piano students. Inspired by the Bible verse: “And he began again to teach by the sea side: and there was gathered unto him a great multitude, so that he entered into a ship, and sat in the sea; and the whole multitude was by the sea on the land.†(Mark 4:1 – KJV) Duration of work: 2:03 min.
$4.99
4.47 €
#
Piano solo
#
Edigles Guedes
#
By the sea side
#
Edigles Guedes
#
SheetMusicPlus
Play in Harmony in 12 Major Keys: Folk Songs and Singing Games from Around the World Book One
Easy Piano
Easy Piano - Level 1 - Digital Download SKU: A0.517906 Composed by Jolea Jensen. Ar…
(+)
Easy Piano - Level 1 - Digital Download SKU: A0.517906 Composed by Jolea Jensen. Arranged by Arr. Jolea Jensen. Children,Folk,Instructional,Multicultural,Traditional,World. Score. 106 pages. Jolea Jensen #128632. Published by Jolea Jensen (A0.517906). Learn folk songs and singing games from around the world in this early elementary book. This series features a solo melody line accompanied by I, IV, and V7 chords, making it perfect for a general classroom setting or for private lessons. Level One (Book 1, Part 1) begins with basic rhythms (quarter, half, dotted half, and whole) in the keys of C, G, D. Each key begins with several songs in the basic five-finger position, then adds either one note above or one note below, then adds 3/4 time, then adds songs in which the hand is not in the basic five-finger position for that key. Level One (Book 1, Part 2) continues with the keys of A, E, B. Eighth notes are introduced in the key of E. Level One (Book 1, Part 3) contains the keys of F#, Db, and Ab. Level One (Book 1, Part 4) contains the keys of Eb, Bb, and F. I have been teaching several of my students with this book, and they are often eager to begin their lessons by playing their assignment out of this book. The feedback I've received from parents is that their child loves the songs because they are fun and easy to understand. Children often love coloring in the black and white pictures on each page. I hope your students also enjoy these songs. Scope and Sequence for Level One songs: Introduction to I and V Simple with LH thumb melody note I and V More leaps I and V I and IV and V extend pinky I IV V extend thumb I IV V three four time simple move hand Alphabetical Song Index with Key and Pg Number: A Ram Sam Sam Ab 67 AijÄ, Žūžū, LÄÄa BÄ“rni E 32 Ainsi Font Bb 82 Alle Meine Entchen C 5 Ambos a Dos B 37 Ang Pato Ko Eb 70 Arroz con Leche F# 47-48 Au Clair de la Lune E 34 Bells in the Steeple Bb 83 Bill Grogan's Goat Bb 84 Björnen Sover Bb 81 Boil Them Cabbage Down C 4 Brinca la Tablita F 88 Buttercup G 8 Button, You Must Wander Ab 64 Chase the Squirrel C 1 Chopsticks C 6 Clap, Clap, Clap Your Hands D 15 Closet Key F# 42 Cobbler, Cobbler F 85 Cradle Hymn Db 52 Down by the Station F 86 Down in the Valley G 12 Five Fat Turkeys F# 45 Five Little Chickadees G 11 Frog in the Meadow Ab 59 Frogs in the Pond C 2 Go Tell Aunt Rhody D 14 Goodbye, Old Paint F 91 Grandma Grunts F 87 Ha' Sukkah Mah Yafah Ab 60 Hob Ich a Por Oksn Ab 61-62 Hop, Old Squirrel B 35 Hush-A-Bye G 10 Hush, Little Baby G 9 I'm a Nut Eb 75 Johnny's Hammer E 30 Journey of the Leaves E 33 Juan Pirulero B 40 Kangaroo Skippy Roo Bb 76 King's Land Eb 73 Kolyada A 24 Kuckuck Db 57 Lady Come A 22 Lavender's Blue Eb 74 Lightly Row C 3 Limerick Song D 19 Long-Legged Sailor F# 43 Love Somebody G 10 Mmm, Ahh, Went the Little Green Frog Bb 77-78 Mon Petit Lapin a Bien du Chagrin Ab 63 My Horses Ain't Hungry G 13 Naughty Kitty Cat F# 46 O wie wohl ist mir am Abend Db 58 Old King Cole B 38 On Top of Old Smokey D 20 One, Two, Three, Aleerie F 92 Over in the Meadow F 89-90 Pak Pak Ka-ak A 21 Passa, Passa, Gavião Db 51 Pease Porridge Hot A 25 Piva, Piva l'oli d'uliva Ab 65-66 Promenons-nous dans les Bois Eb 71-72 Sandy McNab A 26 Sasara ang Bulaklak Bb 79-80 Scotland's Burning B 36 Seashell Eb 68 Sleep, Baby, Sleep D 16 Tallis' Canon A 27 Ten in the Bed Eb 69 The Deaf Woman's Courtship A 23 The Elfin Knight Db 55-56 The Frog in the Bog D 17 The Noble Duke of York E 31 The Old Sow Took the Measles Db 53-54 The Sandman Comes D 18 Three Jolly Fishermen E 29 There's a Hole in the Bucket F# 49 Twinkle, Twinkle, Little Star B 41 Ulo Abaga B 39 Vamos a la Mar F# 44 Who's That Tapping at the Window Db 50 Yoo Hoo! E 28 Zhao Peng You C 7.
$20.00
17.92 €
#
Easy Piano
#
Jolea Jensen
#
Play in Harmony in 12 Major Keys: Folk Songs and Singing Games from Around the World Book One
#
Jolea Jensen
#
SheetMusicPlus
"39 Variations on an Original Theme in F Major" for piano Op. 98
Piano solo
Piano Solo - Level 5 - Digital Download SKU: A0.980450 Composed by Gary Noland. 20t…
(+)
Piano Solo - Level 5 - Digital Download SKU: A0.980450 Composed by Gary Noland. 20th Century,Concert,Contemporary. Score. 192 pages. Freeland Publications #3246581. Published by Freeland Publications (A0.980450). Duration: ca. 90 minutes-2 hours. Quite possibly the longest set of piano variations in the entire classical music literature, with the exception, perhaps, of certain sets of variations for piano by Kaikhosru Shapurgi Sorabji. This work ends with a monstrous 35-page long fugue. In the 18th century, Bach composed the Goldberg Variations (30 variations), in the 19th century Beethoven composed the Diabelli Variations (33 variations), in the 20th century Frederic Rzewski composed The People United Will Never Be Defeated (36 variations), and now, in the 21st century, Gary Noland has composed his monumental 39 Variations on an Original Theme in F Major. (There seems to be a pattern of three variations added on for each century). This is a work for adventurous first-rate pianists! Some of the variations are self-contained and may be played separate from the whole.I'm fascinated by your variations. Perhaps a marathon performance with many pianists doing several variations? Could be interesting. RIchard Strauss would have loved it.-Jed Distler, pianist. Sheer genius!!!! Move over Bach!!!!!-Alfred Watson, composer & pianist. Very nice and exciting! I listened [to] both the parts on you tube and I was not bored at all ... impeccable technique with echos (in my opinion) from Bach, Beethoven, Satie up to contemporaries, and many others ... many compliments!!!-Sisto PalombellaOne word: monumental!-Joseph Ford, composerThis is amazing music … Wow!!!-John William BaxterBeautifully put together. Three cheers!-Scott Giles, composerThis is a remarkable set of variations, not only for the immensely imaginative treatment of the theme but also for the vast array of stylistic influences incorporated into the score. One need only listen to five minutes to appreciate the craftsmanship!-Lenny Cavallaro, composerI'm enjoying this very much. I liked the intellectual rigor that underlies it.-John Melcher, composerAmazing work!-Rudolf SchmittLink to Section One: https://www.youtube.com/watch?v=4JQYgBiP388Link to Section Two: https://www.youtube.com/watch?v=UjQLOoPGvII&t=1025s
$30.00
26.89 €
#
Piano solo
#
Gary Noland
#
"39 Variations on an Original Theme in F Major" for piano Op. 98
#
Freeland Publications
#
SheetMusicPlus
Hope of the World: 11 My Servant, My Chosen One by Stephen R Dalrymple
Choral SATB
Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.818370 By Stephen R…
(+)
Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.818370 By Stephen R Dalrymple. By Stephen R Dalrymple (Dalrymple Designs). Arranged by Stephen R Dalrymple. Sacred. 24 pages. Stephen R Dalrymple #6709743. Published by Stephen R Dalrymple (A0.818370). Hope of the World: 11 My Servant, My Chosen Oneoriginal song arranged for SATB choir and piano by Stephen R Dalrymple♫ sequenced by the composer♫ music © 1999 Stephen R Dalrymple♫ recording ℗ 2022 Stephen R Dalrymple♫ presentation © 2024 Stephen R Dalrymple♫ based on Isaiah 42 and Matthew 12.♫ Isaiah 42 describes God’s valued servant. This chosen servant, representing God will patiently and faithfully bring justice to the whole world. His methods, though, will be unusual. He will actually shun popularity. His actions will be characterized by gentleness and compassion for the needy. When many of the leadership of Jesus’ day were obsessed with power and popularity and were often willing to sacrifice the real needs of people to further their agenda, Messiah will have a totally different agenda.♫ Includes 1) full score 2) SATB choir part on 2 staves 3) full score for 10 inch tablet♫  (Tell your computer which pages you want to print. There are programs online that will allow you to split pdf files so that you can choose the correct part of the pdf for your tablet.)♫ YouTube channel @DalrympleDesigns.
$2.00
1.79 €
#
Choral SATB
#
Stephen R Dalrymple
#
Hope of the World: 11 My Servant, My Chosen One by Stephen R Dalrymple
#
Stephen R Dalrymple
#
SheetMusicPlus
In the Garden-MP3 accompaniment
Choir,Piano - Digital Download SKU: A0.1068170 Composed by Austin Miles. Arranged b…
(+)
Choir,Piano - Digital Download SKU: A0.1068170 Composed by Austin Miles. Arranged by Deborah Johnson. Easter,Praise & Worship,Sacred. Accompaniment. Duration 166. Deborah Johnson #6733707. Published by Deborah Johnson (A0.1068170). This is the MP3 accompaniment track for In the Garden, one of our top sellers because it is such a beloved song for so many. There is no piano or vocals included in the accompaniment track, but a easy-to-follow accompaniment guide to where you can just play along with one or two pianos and add the beautiful vocal oohs and ahs with your small ensemble or choir. NOTE: the track picks up at measure 27. The beginning of the piece is performed acoustically and the instrumental track adds a wonderful build to the arrangement.Our family performed In the Garden for both my grandparent’s memorial services as they loved the song. This arrangement is for piano I and II, octave unison and vocal chorus.In the Garden is arranged as a flowing ballad with piano as the focus. Simple ooh and ah vocals are added for color on a countermelody in this reflective arrangement. Piano II adds an octave melody in a higher register to add more color and can be played by even a beginner pianist. The whole arrangement is easy Intermediate level.Up for a GRAMMY Award, My Father’s Favorite Hymns album is available here: https://DJWorksMusic.com/products by Deborah Johnson. You can download the complete MP3 album or individual songs on Amazon here: https://www.amazon.com/music/player/albums/B008O86FQI There is also a beautiful spiral-bound devotional guide available with the amazing stories and life principles gained from these timeless classics, as well as all the music arrangements in one spiral-bound volume. Both are available on Amazon or direct from here: https://goalsforyourlife.com/gods-music-hymns/ In the Garden was written by Austin Miles (1912), a pharmacist who became an editor of hymnals and songbooks as well as a popular music director. His hobby was photography and he composed the beginning of this song as he waited for some film to develop.For more information about Deborah, her albums, books and products, visit https://DJWorksMusic.com https://GoalsForYourLife.com or https://DeborahJohnsonSpeaker.com
$8.99
8.06 €
#
Austin Miles
#
In the Garden-MP3 accompaniment
#
Deborah Johnson
#
SheetMusicPlus
Lord, Who Throughout These 40 Days
Harp
Harp - Level 2 - Digital Download SKU: A0.939534 Composed by ST FLAVIAN. Arranged b…
(+)
Harp - Level 2 - Digital Download SKU: A0.939534 Composed by ST FLAVIAN. Arranged by Christa Grix. Christian,Praise & Worship,Sacred,Spiritual. Score. 5 pages. Freefall Music LLC #6325449. Published by Freefall Music LLC (A0.939534). This lovely arrangement is suitable for an advanced beginner or intermediate harpist. A busy professional harpist who quickly needs to learn music for Lenten church services will have no problem using this arrangement on short notice.The hymn tune ST FLAVIAN was first published in 1562 in The Whole Booke of Psalms, the composer is unknown. The text was written by Claudia Frances Hernaman (1838-1898), an English composer of more than 150 hymns, many of them for children. She first published Lord Who Throughout These 40 Days in 1873 in The Child’s Book of Praise. This hymn is frequently sung in services throughout the Lenten season, particularly in Catholic and Lutheran denominations.
$7.99
7.16 €
#
Harp
#
ST FLAVIAN
#
Lord, Who Throughout These 40 Days
#
Freefall Music LLC
#
SheetMusicPlus
He's Got The Whole World In His Hands
Piano solo
Piano Solo - Intermediate - Digital Download Composed by Lorie Line. Arranged by Lori…
(+)
Piano Solo - Intermediate - Digital Download Composed by Lorie Line. Arranged by Lorie Line. Christian, Gospel, Spiritual, General Worship, Christmas. Sheet Music Single. 7 pages. Published by Lorie Line
This Lorie Line performance-styled piano arrangement of He's Got The Whole World In His Hands is one of the most popular traditional gospel songs to play and is great for church, holidays or any special occasion. From Lorie's 2017 holiday book KING OF KINGS. For free downloads and more information www.lorieline.com or listen to Lorie Line Radio on Pandora.
$5.99
5.37 €
#
Piano solo
#
Lorie Line
#
He's Got The Whole World In His Hands
#
Lorie Line
#
SheetMusicPlus
Standing 3 late beginner hymn collection (Brethren We Have Met to Worship, I Am Resolved, Standing o
Easy Piano
Easy Piano - Level 1 - Digital Download SKU: A0.1172421 Composed by James H. Fillmo…
(+)
Easy Piano - Level 1 - Digital Download SKU: A0.1172421 Composed by James H. Fillmore, R. Kelso Carter, and William Moore. Arranged by Amanda Tero. Children,Christian,Religious,Sacred. Score. 9 pages. Amanda Tero #772646. Published by Amanda Tero (A0.1172421). Delight your late beginner students with three exciting hymns in level 2 sheet music solos. These are specifically arranged for the students who like a little bouncy touch to their hymns.Great for church services or recital for both piano students and piano teachers. This works well for the smaller church offertories that only need about 1 minute of piano playing.This piano sheet music is equivalent to most Level 2 or ABRSM Grade 2.6 pages total. 1 piece in F. 2 pieces in C. Musical elements in Brethren We Have Met to Worship Note values: whole notes, dotted half notes, half notes, half rests, quarter notes, eighth notes Note reading: bass clef C2 to F4, treble clef Bb3 to A5 8va RH reading bass clef RH over left hand Accidentals Ties Finger numbers Practice tips for Brethren We Have Met to Worship The most fun–and hardest–part of this arrangement is the right hand, measures 11-14. The right hand is not only reading bass clef, but is reading the lowest notes in the piece of music. This is a great place to start. Additionally, the left hand for the first page is an open fifth the entire time but changes on the second page. So it may be beneficial to start learning the left hand intervals on the second page first. Musical elements in I am Resolved Note values: whole notes, half notes, quarter notes, eighth notes, eighth rests Note reading: bass clef C2-E4, treble clef C4-E5 Drop-roll (slur-staccato) Staccatos Moving left hand Accidentals LH octave reach A lot of thirds Broken chords Practice tips for I am Resolved While the left hand starts with a catchy left hand pattern, it does get more complicated for the chorus, starting in measure 11. It would benefit the student to focus a little extra attention on the rapidly changing notes of the left hand for the chorus. While the chorus is harder, it does feature repetition, so have the student identify the measures that are the same. Musical elements in Standing on the Promises Note values: whole notes, half notes, half rests, quarter notes, quarter rests, eighth notes Note reading: bass clef C2-E4, treble clef C4-C6 Fermata Staccatos Accidentals Chromatic scale LH octave reach Practice tips for Standing on the Promises If your student doesn’t know their chromatic scale yet, this is the perfect piece to teach it to them! If they already know a chromatic scale, then they will be able to easily master the last two measures. There is a solid left hand pattern that will be beneficial to help the student analyze. If they figure out the pattern it will make learning easier.
$9.99
8.95 €
#
Easy Piano
#
James H
#
Standing 3 late beginner hymn collection
#
Amanda Tero
#
SheetMusicPlus
He's Got the Whole World in His Hands - for 2-octave handbell choir
Handbells
Choir, Handbell - Digital Download Composed by Traditional. Arranged by Samuel Stokes…
(+)
Choir, Handbell - Digital Download Composed by Traditional. Arranged by Samuel Stokes. Christian, Spiritual, Sacred, General Worship, Recital. 4 pages. Published by SamuelStokesMusic.com
This is an arrangement of "He's Got the Whole World in His Hands" for 2-octave handbell choir. To learn more about Samuel Stokes, visit http://www.SamuelStokesMusic.com .
$3.99
3.58 €
#
Handbells
#
Traditional
#
He's Got the Whole World in His Hands - for 2-octave handbell choir
#
SamuelStokesMusic.com
#
SheetMusicPlus
Parable feel the hurt--CONTINUES
Piano solo
Piano - Digital Download SKU: A0.1066788 Composed by THEMIS KOUTRAS. Christian,Gosp…
(+)
Piano - Digital Download SKU: A0.1066788 Composed by THEMIS KOUTRAS. Christian,Gospel,Praise & Worship,Sacred. Full Performance. Duration 373. THEMIS KOUTRAS #5209807. Published by THEMIS KOUTRAS (A0.1066788). This is a song in parable saying I feel the pain of the son of man upon my back I like to interpret this parable song it means that I love the lord JESUS CHRIST so much it means my memory is not so good now and I sometimes forget a lot of things it means that sometimes when I do forget the whole holy bible and see the gospel the moment he has been crucified I feel his pain on the cross in my heart down deep meaning I get down with enormous amount of pain as if I am spiritually crucified with him then when he gets raised to live it changes and then I rejoice to the full with him then I remember the holy bible again now at this time my memory is very good I think GOD has healed my memory?
$3.99
3.58 €
#
Piano solo
#
THEMIS KOUTRAS
#
Parable feel the hurt--CONTINUES
#
THEMIS KOUTRAS
#
SheetMusicPlus
<
1
26
51
....
926
© 2000 - 2024
Home
-
New realises
-
Composers
Legal notice
-
Full version
