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Together We Can Do Anything
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You've selected:
Together We Can Do Anything
Sheetmusic to print
7 sheet music found
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1
We Can Do Anything Together by Bo Hinson - Piano/Vocal/Guitar
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Piano, Vocal and Guitar
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Gospel/Spiritual
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Christian contemporary
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Bo Hinson
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We Can Do Anything Together
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Musicnotes
Bo Hinson - We Can Do Anything Together Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this...
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Bo Hinson - We Can Do Anything Together Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal/Guitar, instruments: Voice;Piano;Guitar; 4 pages -- Gospel~~CCM~~Southern Gospel~~Christian
$5.50
Together We Can Do Anything
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Melody line, (Lyrics) and Chords
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Folkloric/Traditional
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Rick Recht
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Together We Can Do Anything
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Rick Recht. Traditional. Fakebook. 2 pages. Published by Hal Leonard - Digital Sheet Music...
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By Rick Recht. Traditional. Fakebook. 2 pages. Published by Hal Leonard - Digital Sheet Music
$3.99
Rick Recht: Together We Can Do Anything for voice & other instruments
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Melody line, (Lyrics) and Chords
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INTERMEDIATE
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Folkloric/Traditional
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Rick Recht
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Virtualsheetmusic
Instantly printable sheet music by Rick Recht for voice & other instruments (fake book) of MEDIUM skill level. / traditional
Instantly printable sheet music by Rick Recht for voice & other instruments (fake book) of MEDIUM skill level. / traditional
$5.97
9.28.85
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Trombone
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ADVANCED
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Drake Mabry
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9.28.85
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Drake Mabry
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SheetMusicPlus
Trombone Solo - Level 5 - Digital Download SKU: A0.799352 Composed by Drake Mabry. 20th Century,Contemporary. Individual part. 13 pages. Drake Mabry #201...
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Trombone Solo - Level 5 - Digital Download SKU: A0.799352 Composed by Drake Mabry. 20th Century,Contemporary. Individual part. 13 pages. Drake Mabry #2015075. Published by Drake Mabry (A0.799352). 9.28.85 was written in 1985 and the date refers to the date of completion, September 28, 1985. Excerpts of this piece are included in Benny Sluchin’s book on contemporary trombone excerpts. This work includes my invention of the idea of playing lip multiphonics. Here's the story. During the Spring of 1985, I participated in the l'atelier de recherche instrumental department for acoustic instrument exploration at IRCAM working with Pierre-Yves Artaud (flute), Daniel Kientzy (saxophone) and Benny Sluchin (trombone). Most of the research was based on looking at new ways to produce sound with acoustic instruments and the department was open to performers and composers. A few months after the IRCAM workshops Benny Sluchin and I decided to work on a piece for him. We worked together to explore various contemporary techniques which I might select for the piece. After a while I narrowed down my choices to a movement with air, one with lip multiphonics, and one using the spatial characteristics of the bell, singing, and sending sound out the back by an alternate F tube. Benny is great to work with as he’s a wonderful musician, anything is possible, he’s open to trying out new ideas and he’s a great human being. The perfect combination for a composer. First, about the lip multiphonics in the second movement. During one of our work sessions we looked at singing and playing multiphonics but I wanted something different. So I asked Benny what would happen if he placed his embouchure between two partials of the overtone series. The result was amazing!! A number of partials sounded at the same time and the textural colors were varied and beautiful. The only problem with this was the window for placing the embouchure was very narrow. Slightly too high or slightly too low would result in a terribly out of tune and uncentered partial. Reminded me of what a sick cow might sound like. This difficulty was less pronounced between partials of a fifth but became more difficult when the partials were closer together. Fourths were okay but major and minor third partials were extremely difficult and risky. We decided what the heck and I wrote the second movement knowing the risks. But when the embouchure is well placed it produces such a beautiful sound. Benny mentioned that the idea had a pedagogical side benefit. He said from being able to focus on placing the embouchure in such a limited ‘window’ it made placing the embouchure for normal note much easier. My invention has been used by other composers since including Xenakis in 1986 and an Icelandic composer a couple of years later. The alternate movement come about after Benny had played the piece for a couple of years. He’s able to get these multiphonics but realized that maybe there would not be many other players able to do so. To avoid the problem that this movement might scare players away from the piece we decided that it would be good to have an alternate movement which would use the same ideas but in a less stressful way for the performer. I thought this was a good idea and wrote, what for me, is a more meditative piece based on the same material. I also imagined that it could be played by itself if the player wished. There is a misprint in the score at the end of the first line where there appears a multiphonic based on placing the embouchure between an Eb and an A natural. The A should be an Ab. The first movement explores the subtleties of various vowel and consonant formations in the mouth while playing. Since the trombone is such a perfect amplifier these small details can be heard. For instance the difference between ‘ts’ and ‘tsh’ comes off well. I think of this movement as a vocal conversation or discourse which becomes highly animated at the end. The dynamics play an important role in providing additional colors. The player should really ‘speak’ without speaking for this movement to work. The third movement is my circus piece. I know it is complicated to.
$7.99
Extinction Events - Clarinet Quartet - Mvt 3 - Walrus Jump
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Clarinet Quartet: 4 clarinets
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ADVANCED
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Contemporary
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John Gibson
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Extinction Events - Clarinet Q
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JB Linear
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Bass Clarinet - Level 5 - Digital Download SKU: A0.581936 Composed by John Gibson. Contemporary. 19 pages. JB Linear #...
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Woodwind Ensemble,Woodwind Quartet Bass Clarinet - Level 5 - Digital Download SKU: A0.581936 Composed by John Gibson. Contemporary. 19 pages. JB Linear #3457481. Published by JB Linear (A0.581936). Extinction Events (3rd movement - Walrus Jump by John Gibson was written as a submission to the International Clarinet Association's 2018 Composition Competition. Written for 3 Bb clarinets and 1 bass clarinet, it is a four movement work for very advanced players. This is the third movement only...the others may be purchased separately: Buzzy Delights, It Isn't Easy Being a Cuckoo, and Yaguarete Surprise (Argentine Jaguar). The entire set of 4 movements may also be purchased. Simply type extinction events Gibson in the search bar at the top.You can watch a You Tube video at https://youtu.be/zdxKbnvD6iI Each movement imagines a different animal or insect living in its habitat as it gradually deteriorates. One might think this would be sad, violent music, but each earthly creature is shown in its musical habitat where it happily does what it does best....bees buzzing around flowers, cuckoos gently calling in the forest, Walruses jumping not so gracefully onto sea ice, Jaguars quietly stalking their prey. The habitat changes are depicted by gradual use of unstable scales, and the sometimes hidden ancient tune of the Dies Irae, the Day of Wrath.The point I wish to make is how humans must be watchful of wildlife habitats because we are all in this limited world together. Where wild creatures go, so do we. It was best said by Jane Goodall: Only if we understand can we care. Only if we care will we help. Only if we help shall they be saved. Walruses are huge aquatic animals who are powerful and swift in the water, but when they jump onto sea ice to rest, they are anything but graceful. They are a bit comical, really. Subsistence hunters in the Bering Strait of Alaska are having trouble with their Spring hunts due to gradual warming of the arctic waters. Sea ice is getting thinner and the Walruses they rely upon to live are getting too far away. This Walrus Jump music is a pretty happy sounding boogie woogie that shows signs of musical distress as it goes on.
$14.00
Chorale
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Piano solo
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INTERMEDIATE/ADVANCED
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Classical
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Johann Sebastian Bach, Paul Eb
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Steve Boudreau
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Chorale
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Steve Boudreau
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1000329 Composed by Johann Sebastian Bach, Paul Eber, and Steve Boudreau. Arranged by Steve Boudreau. 20t...
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Piano Solo - Level 4 - Digital Download SKU: A0.1000329 Composed by Johann Sebastian Bach, Paul Eber, and Steve Boudreau. Arranged by Steve Boudreau. 20th Century,Jazz,Sacred. Score. 2 pages. Steve Boudreau #6681051. Published by Steve Boudreau (A0.1000329). The Bach Chorales are ultimate examples of melodies creating harmonies, the parts coming together to form a whole. They are also great examples of a musician taking a melody and making a new arrangement of it, like jazz musicians do today. This piece is a combination of two chorale melodies that Bach arranged, originally based on hymns by 16th-century composer Paul Eber. For context, Bach set the melody around 200 years after it was written, and I re-worked the melodies with my own harmonies nearly 300 years after that.The first job I had when I moved back to Ottawa from Boston was as a church pianist. At one point there was a two-month stretch where I was in charge of programming the instrumental music we played, and I challenged myself to come up with new arrangements every week- the way Bach would have in his time, just on a much smaller scale. This was a terrific creative outpouring of music for me, and it renewed my enormous respect for the church music community and the work involved.For this piece I took two seemingly unrelated chorales (they are actually from the same Cantata, BWV 127) and attached them, using their distant keys of A Major and F Major to set up an interesting modulation halfway through. I had to actively try out some more modern harmonic progressions to take the overall sound of the piece further away from Bach's version. One of my favourite moments is when you finish the C major resolution and then repeat back into F# Minor at the top for improvising. In the solo piano version this surprising cut doesn't occur unless you take a second pass through the piece, so I encourage you to try repeating the piece even if you don't feel comfortable embellishing or changing anything the second time around.
$1.99
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