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You've selected:
To Notice Such Things
Sheetmusic to print
8 sheet music found
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1
To Notice Such Things
Flute, piano and string orchestra - intermediate to advanced - Digital Download SKU: S9…
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Flute, piano and string orchestra - intermediate to advanced - Digital Download SKU: S9.Q47139 Suite for flute solo, piano and string orchestra. Composed by Jon Lord. This edition: piano reduction with solo part. Downloadable, Piano reduction with solo part. Duration 29 minutes. Schott Music - Digital #Q47139. Published by Schott Music - Digital (S9.Q47139). Written in memory of Sir John Mortimer, To Notice Such Things is composed in 6 contrasting movements for flute and piano. Each movement of the work reflects an aspect of Mortimer’s personality. Lord says of the piece, I wanted to give the flute the job of speaking for John throughout the Suite; his laughter and his sighs, his wistfulness and occasional mild cantankerousness, his playfulness, and also the anguish and then the acceptance of his final days. Jon Lord is the former keyboard player for the band, Deep Purple. The work, To Notice Such Things also appears on a studio album of the same name, released in 2010.
$31.99
29.86 €
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Jon Lord
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To Notice Such Things
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Schott Music - Digital
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SheetMusicPlus
To Notice Such Things
String Orchestra
Flute, piano and string orchestra - advanced - Digital Download SKU: S9.Q45889 S…
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Flute, piano and string orchestra - advanced - Digital Download SKU: S9.Q45889 Suite for flute solo, piano and string orchestra. Composed by Jon Lord. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 29 minutes. Schott Music - Digital #Q45889. Published by Schott Music - Digital (S9.Q45889).
$33.99
31.72 €
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String Orchestra
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Jon Lord
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To Notice Such Things
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Schott Music - Digital
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SheetMusicPlus
THE ICON OF THE INVISIBLE GOD (SATB) – Colossians 1:15-20
Choral SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.926661 Composed by Michael…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.926661 Composed by Michael A. Morizio. Christian,Sacred. Octavo. 15 pages. M.A. Morizio #3588399. Published by M.A. Morizio (A0.926661). In the first chapter of Paul’s letter to the Colossians, we discover the next known Hymn to Christ right after his introductory passages, beginning at the 15th verse. Paul opens this letter with a blessing, then immediately flows to one of the 1st century hymns, which I have called, The Icon of the Invisible God. The lyrics of this hymn are declarative, bold and illuminating as to whom the Christ figure is-the icon, the very image of the invisible God, the firstborn of all creation. The text makes it abundantly clear that Jesus is the authority; that He was there before all things, that He created all things, and that through Him all things hold together. This anthem is composed for SATB choir with Pipe Organ accompaniment. The meter is set to 6/8 time, with a rhythm tempo of Totally Alive; which is one actual definition of the word Holy. The anthem starts at a good clip (♪=100). The key is G Major, with an incidental and occasional flatted 5th (Dâ™) as a surprise-landing befitting to the text presented, as if to say, This is so amazing, how can it be? The flatted 5th gives the piece it's own identity and causes the listener to stand up and take notice whenever it occurs. When the hymn's lyrics glide into the all-important resolution, having made peace through the blood of the cross, the song retards and lands on a surprising musical cadence, the sixth chord (E Major). In this piece, the pipe organ is boldly featured as it supports and under girds the musical line, occasionally trumpeting its own victorious motifs and adding some contrapuntal elements, such as this duplet motif, in the pedal line. The final lyrics about Christ having reconciled everything to Himself, whether things on the earth or in the heavens, finish the piece with a great, ‘High-Church’ choral ending.
$1.99
1.86 €
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Choral SATB
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Michael A
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THE ICON OF THE INVISIBLE GOD
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M.A. Morizio
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SheetMusicPlus
The Story Of Reuben Clamzo & His Strange Daughter
Choral TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…
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Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
3.72 €
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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
Funeral For A Tree
Choral SATB
Choral Choir (Mixed) - Level 3 - Digital Download SKU: A0.874246 Composed by John P…
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Choral Choir (Mixed) - Level 3 - Digital Download SKU: A0.874246 Composed by John Powell. Arranged by a do Ray me flute studio production , Ray-Michael Kauffman. Contemporary. Octavo. 31 pages. As do Ray meflute studio production #3885051. Published by as do Ray meflute studio production (A0.874246). Https://www.youtube.com/watch?v=PqIQfHGxLEg&feature=youtu.be With thoughts leaning and reflecting on the end on Fall, and November, I can’t help but notice the beauty of fall and the trees and foliage. This wonderous little musical piece , from the motion picture The Lorax from the Dr. Seuss movie, depicts of the main character the Lorax speaking for the trees and in many ways advocating for all things, people and groups that can not speak for themselves. And even in the times that we live in, this story still rings true today. And beauty can still be found in sadness, or endings whether the be falling leaves in the park, or even with the events that are said , we grow and learn, being grateful for what we have , and learn to find our voices to speak out for the things that truly matter in life. This music, which is much like a hymnal, especially in the beginning of the piece, is perfect for this message. A message of peace, reflectiveness and hope and courage. As a side note , this piece should be played with lots of thoughtful rubato, and when the meter changes for 4/4(5/4) to 12/8, the beat does not change from quarter to dotted quarter .In the middle, minor section, I really added and improvised my musical skills per chord and melody of the song which makes my arrangement very distinctive, individual and unique. This would be great for a movie themed concert, all by it's self, for a funeral, for Arbor Bay/ Tree ceremony , for fall or autumn music/ themed programs, recitals, etc. Sure to be a well used piece in your collection. Scored for piccolo, flute 1, 2, 3 4, alto and bass flute. This pieces suites smaller groups , such as 1 per part, or doubling up with discretion. please visit my website at doraymeflute.com , too!I hope you enjoy this as much as I do, thank you for your support.#movie music #arborday#holidaymusic #fallmusic #holiday #fall #autumn #season #flutechoir #movieflute #autumnmusic
$14.25
13.3 €
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Choral SATB
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John Powell
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Funeral For A Tree
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as do Ray meflute studio production
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SheetMusicPlus
Rondo in C
Piano solo
Piano Solo - Level 2 - Digital Download SKU: A0.1264703 Composed by Ric Price. 20th…
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Piano Solo - Level 2 - Digital Download SKU: A0.1264703 Composed by Ric Price. 20th Century,Classical,Instructional. Score. 5 pages. Richard J Price #857533. Published by Richard J Price (A0.1264703). Music NotesThis is a piece I wrote to shape some concepts for my first/second year pianostudent daughter. I had the idea while listening to her practice by brute force –meaning the keys are repeated hit continuously at same tempo, same strength – almost as a pounding exercise. I thought nuance was not getting into her playing yet (as with most beginning students).  I wanted her to be aware of the musicality innate in a piece of music.Therefore, I loaded this piece up with all kinds of tempo changes, dynamics, etc. A little overkill, but printed music does suggest these things although it might not be written in.Concepts I was going for: Form: In this case a Rondo. Using classic ABACA. Key Relationships: C Major / A Minor. Sections B and C are in A minor, although written in key of C with the addition of sharps (leading tone G ♯). Hand Independence: Scales in one hand punctuated in the other. Scales: Scales found in both hands and the value of scales fingering in a real piece. Phrasing: How different notes are placed together to make a complete thought. Dynamics: Lots of changes written in there and how it relates to phrasing helping make the ‘complete thought.’ Articulation: Staccato vs Legato, voices opposing each other; again helping with the ‘complete thought.’ Tempo: That such a thing as flexible tempo helps with phrasing and completing that ‘complete thought’ we talked about. Pounding beat vs a larger beat: as interpretation such as dance (emphasizing the first beat instead of pounding by each beat. Notice by the tempo markings that a larger beat is called for by the markings (one beat per measure embracing the dance aspect.) Her former teacher is very talented, holds his Doctor's degree in Piano Performance and was absolutely terrific with her. That being said, Kara soon found out there were boys, and from that moment on the instructor never had a chance. She’s 38 now, loves to play this piece and still -- pounds it out. ☺.
$9.00
8.4 €
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Piano solo
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Ric Price
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Rondo in C
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Richard J Price
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SheetMusicPlus
Dimensión [violin + piano]
Violin and Piano
Piano,Violin - Level 4 - Digital Download SKU: A0.596563 Composed by Juan MarÃa So…
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Piano,Violin - Level 4 - Digital Download SKU: A0.596563 Composed by Juan MarÃa Solare. 20th Century,Concert,Jazz,World. 18 pages. Juan Maria Solare #4624367. Published by Juan Maria Solare (A0.596563). Juan MarÃa Solare: Dimensión Dimensión is a neolassical tango that was composed based on two simple piano pieces destined to young pianists: the first theme is Langostango and the second one Continuando. When joining to build up Dimensión, additional elements came into the game, such as an important secondary melody and a few transitions. Dimensión is therefore a clear example of a successful composition: a couple of good ideas and a lot of work to achieve that nobody notices how much work lies behind it. About the title, it obeys to my (slightly excessive) concern towards finding names that can be understood in any language of the places I usually am related to (i.e. in Spanish, English and German). In the case of dimensión it is a transparent word, understanding as such the words that are practically identical in any language while keeping their meaning (there exist words that are quite similar in different languages, but mean different things, in Linguistics these are called false friends.) Among my titles one finds several of such transparent words. In September 2002 I startd conducting the Orquesta No TÃpica at the University of Bremen, Germany, a chamber group of variable instrumentation devoted to tango music. Dimensión was the first piece that I composed especially for this group, in January / February 2003. The original version of Dimensión is therefore for Sextet: flute, clarinet, violin, guitar, bass, piano.Since that first version (performed several times in Germany and Argentina) I wrote a long dozen of arrangements for different instrumental groups.
$4.00
3.73 €
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Violin and Piano
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Juan MarÃÂa Solare
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Dimensión [violin + piano]
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Juan Maria Solare
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SheetMusicPlus
Dimensión [trombone octet]
Trombone ensemble
Trombone, trombone octet - Advanced Intermediate - Digital Download Composed by Juan …
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Trombone, trombone octet - Advanced Intermediate - Digital Download Composed by Juan María Solare. Contemporary Classical, Neo-Classical, Latin Jazz, Repertoire, Latin. Score, Set of Parts. 32 pages. Published by Juan Maria Solare
Dimensión is a tango that wascomposed based on two simple piano pieces destined to young pianists: the firsttheme is "Langostango" andthe second one "Continuando".When joining to build up "Dimensión",additional elements came into the game, such as an important secondary melodyand a few transitions.
Dimensión is therefore a clearexample of a successful composition: a couple of good ideas and a lot of workto achieve that nobody notices how much work lies behind it.
About the title, it obeys to my (slightly excessive) concerntowards finding names that can be understood in any language of the places Iusually am related to (i.e. in Spanish, English and German). In the case of "dimensión"it is a transparent word, understandingas such the words that are practically identical in any language while keepingtheir meaning (there exist words that are quite similar in different languages,but mean different things, in Linguistics these are called false friends.) Among my titles one finds several of such transparent words.
In September 2002 I began to conductthe Orquesta No Típica at theUniversity of Bremen, Germany, a chamber group of variable instrumentationdevoted to tango music. Dimensión wasthe first piece that I composed especially for this group, in January /February 2003. The original version of Dimensiónis therefore for Sextet: flute, clarinet, violin, guitar, bass,piano.
Sincethat first version (performed several times in Germany and Argentina) I wrote along dozen of arrangements for different instrumental groups.
Dimensión for trombone octet: https://www.youtube.com/watch?v=Q8Uq4_PSlPI
$10.00
9.33 €
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Trombone ensemble
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Juan María Solare
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Dimensión [trombone octet]
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Juan Maria Solare
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SheetMusicPlus
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