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You've selected:
We Were So Close
Sheetmusic to print
37 sheet music found
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We Were So Close
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.933003 Composed by David Babyface F…
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Piano Solo - Level 3 - Digital Download SKU: A0.933003 Composed by David Babyface Foster and Johnny Mandel. Arranged by David Babyface Foster, Johnny Mandel, and Karya Sucipta. Contemporary. Score. 5 pages. Karya Sucipta #6456585. Published by Karya Sucipta (A0.933003). This rare sheet music is one of the masterpieces from David Foster's most popular album The Symphony Sessions.
$5.60
5.12 €
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Piano solo
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David Babyface Foster and Johnny Mandel
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We Were So Close
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Karya Sucipta
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SheetMusicPlus
Close The Door
Piano, Vocal and Guitar
Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1458174 By Andrew McD…
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Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1458174 By Andrew McDonald. By Andrew McDonald. Arranged by Andrew McDonald. Blues,Christian,Country. Score. 8 pages. Andrew Mc Donald (Macka Records) #1037148. Published by Andrew Mc Donald (Macka Records) (A0.1458174). Close the door is a song about praying on your knees when you have a prayer need. As we can have hectic schedules and are very busy with the kids and a job we often neglect praying or put it off cause we don't have time and cannot get to it cause we have no space. But a good suggestion would be to go to your room and close the door nice and tight behind you morning night or day so that you can pray. When you do this your father in heaven will see this and reward you with an answered prayer. Trumpet features throughout this piece. This is a piano and vocal score.
$4.99
4.56 €
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Piano, Vocal and Guitar
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Andrew McDonald
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Close The Door
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Andrew Mc Donald
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SheetMusicPlus
When We Face An Unknown Future
Choral 2-part
Choral Choir (SA) - Level 3 - Digital Download SKU: A0.1029846 Composed by Veniamin…
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Choral Choir (SA) - Level 3 - Digital Download SKU: A0.1029846 Composed by Veniamin Blokh. Praise & Worship,Romantic Period,Sacred. Octavo. 7 pages. Veniamin Blokh #5753547. Published by Veniamin Blokh (A0.1029846). A song for choir and piano written on a reflection of the situation with the COVID-19 in the world. Words by Carolyn Winfrey Gillette:When we face an unknown future that we can't imagine yet,when the closeness we have treasured turns from blessing into threat -As we miss our friends and loved ones, as we crave community,may we look, God, in this season, for a whole new way to be.Jesus faced the lonely desert as a time to look within.There he met such trial and conflict; there he knew you were with him.In this time of separation when we miss the life we've known,may we hear your voice proclaiming: I am here! You're not alone.May we cherish those around us as we never have before.May we think much less of profit; may we learn what matters more.May we hear our neighbors' suffering; may we see our neighbors' pain.May we learn new ways of offering life and health and hope again.God, when illness comes to threaten, and when so much here goes wrong,may we know this thing for certain - that your love is sure and strong.You're beside us in our suffering - and when times are surely tough,we may face an unknown future, but it's filled, Lord, with your love.
$4.99
4.56 €
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Choral 2-part
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Veniamin Blokh
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When We Face An Unknown Future
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Veniamin Blokh
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SheetMusicPlus
In Search of Lost Time
Piano solo
Piano Solo - Digital Download SKU: A0.928405 Composed by Noah Fire. Contemporary. S…
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Piano Solo - Digital Download SKU: A0.928405 Composed by Noah Fire. Contemporary. Score. 5 pages. Noah Fire #6115683. Published by Noah Fire (A0.928405). In Search of Lost Time This is really not a good time for this virus to show up. Not when I'm 68 years old. Couldn’t it have arrived ten years ago before I became elderly? I can make myself ten years younger. (Maybe twelve or fifteen. Why stop at ten?) My mother did that during the war. After she said we were safe they couldn't get to us because of the ocean. Now six feet apart no ocean protects us. Too bad we didn't learn to breathe under water. I watch television wonder why people are standing so close to each other. I walk in zigzags. My ponytail pulls at the strings of the mask suffocating me. At night I check the doors. But who will sneak in now? The virus is the only one out and about. How old will my grandchildren be when I hold them again? Will the youngest be surprised to see we have bodies attached to our heads that we don’t live on a.
$2.50
2.29 €
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Piano solo
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Noah Fire
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In Search of Lost Time
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Noah Fire
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SheetMusicPlus
Alleyways (A Christmas Song) (mp3)
Choir - Digital Download SKU: A0.1059288 Composed by David Warin Solomons. 20th Cen…
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Choir - Digital Download SKU: A0.1059288 Composed by David Warin Solomons. 20th Century,Christian,Christmas,Praise & Worship. Full Performance. Duration 155. David Warin Solomons #32941. Published by David Warin Solomons (A0.1059288). Score:https://www.sheetmusicplus.com/title/19982639?aff_id=175705Christmas Song for mixed choir (SATBB) performed by the Composer's Choir under Dan Shaw. A jaunty melody with countermelodies with words telling of children playing their games in the dusty streets (ie of Bethlehem) unaware that a miracle has happened and asking them to look up to the angels and join their singing: See the children playing in the dusty alleyways all the buildings round them give no hint of the miracle which happened in a tiny stable just close by Sing Nowell The time has come The time is here For God has come To visit us in the form of a baby called Jesus See the children playing in the dusty alleyways They don't know the miracle happened in their very midst They don't see the angels hovering overhead They don't hear the angels singing singing praises They are playing their own games of mirth so carefree. [Soprano descant] The angels hover unseen over the stable singing their praises They are just like everyone engrossed in their own lives Never looking up to the sky where angels sing [Soprano descant] Sing Alleluia... and the children do not hear oh children you do not hear and the children do not know oh children you do not know the great and mighty wonder the full and blessèd cure Jesus is God incarnate Children hear! Rise now from the dusty streets and noisy alleyways Come and see the wonder which is come to you Leave your games and join the great celestial choir of angels Sing Nowell The time is here the Word has come to visit us in the form of a baby called Jesus We were children playing in the dusty alleyways Now we know the miracle which happened in our very midst [Soprano descant] the angels hover unseen over the stable singing their praises Sing Alleluia... O Children sing!.
$2.30
2.1 €
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David Warin Solomons
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Alleyways
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David Warin Solomons
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SheetMusicPlus
Flights of Fancy
Small Ensemble Clarinet,Flute,Viola - Level 4 - Digital Download SKU: A0.987048 Com…
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Small Ensemble Clarinet,Flute,Viola - Level 4 - Digital Download SKU: A0.987048 Composed by Joe Clark. Contemporary. Score and parts. 11 pages. Joe Clark #2025787. Published by Joe Clark (A0.987048). Flights of Fancy came about in an unexpected way. At the beginning of my sophomore year of high school, my homeroom teacher Lisa Harris decided to host Talent Fridays in an effort to enliven the tedium and pointlessness of the ten-minute homeroom period. Various students solved Rubik’s Cubes, Moonwalked, and displayed all manner of skills. Three of us, however, were musicians. Emily Church, Cailley Culotta, and I (note the alphabetical closeness of our last names!) played flute, viola, and clarinet respectively. Now, at the time, I was unfamiliar with chamber music as a general concept and so rather than searching for a piece for us to play, I elected to write one myself. As we were rehearsing in the band room one morning before school began, my band director walked in and asked what we were playing, sounding surprised that I had written it myself. Later that year, he encouraged me to submit it to various composition contests. Thus, Flights of Fancy was a winner of the 2010 UMass Lowell CMENC Annual Youth Composition Festival. Light, burbling lines sparkle and weave throughout the piece, allowing the three musicians to engage in a lively dialogue. The piece is suitable for a variety of occasions, from a recital opener to light music at a reception. It is suitable for moderately advanced high school ensembles or any college ensemble.
$15.99
14.62 €
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Joe Clark
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Flights of Fancy
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Joe Clark
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SheetMusicPlus
Mysterious Moment for alto flute and string trio
String Trio: violin, viola, cello
String Ensemble,String Trio - Level 3 - Digital Download SKU: A0.576736 Composed by…
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String Ensemble,String Trio - Level 3 - Digital Download SKU: A0.576736 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #119391. Published by David Warin Solomons (A0.576736). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00
7.32 €
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String Trio: violin, viola, cello
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David Warin Solomons
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Mysterious Moment for alto flute and string trio
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David Warin Solomons
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SheetMusicPlus
Mysterious Moment for oboe and string trio
Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 …
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Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #90581. Published by David Warin Solomons (A0.576733). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00
7.32 €
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David Warin Solomons
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Mysterious Moment for oboe and string trio
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David Warin Solomons
#
SheetMusicPlus
When the World Drops In to Town
Piano, Vocal and Guitar
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.893864 Composed by Da…
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.893864 Composed by David Kai. Celtic,Folk,Pop. Score. 5 pages. David Kai #6100233. Published by David Kai (A0.893864). A song celebrating the people of Gander, Newfoundland & Labrador in Canada who helped close to 7,000 stranded airline passengers after September 11, 2001. The story of Gander and the surrounding towns has been immortalized in the Broadway show, Come From Away. The song is written in a Celtic/Newfoundland style. This song is dedicated to my spouse Marly's parents, Isaac and Sybil who were a part of the crew who helped the plane people in Gander through their involvement in the Anglican church. WHEN THE WORLD DROPS IN TO TOWN Words and music by David Kai ©2020 On the 11th of September, in a quiet little town In a place that they call Newfoundland, all the planes were coming down Just how many were arriving, it was hard to know or tell In a quiet town in Newfoundland on the day the towers fell. With ten thousand waiting on the ground, seven thousand on their way The schools and halls and churches were preparing for their stay And not only in Gander, but in places all around ‘Cause you’ve got to pull together when the world drops into town. Chorus: So raise a glass to them, let’s sing a song to cheer For all the workers, cooks and clerks, for all the volunteers Who showed such kindness, who stepped up when chips were down ‘Cause you’ve got to pull together when the world drops into town All the stores they opened up their doors, the supplies, how fast they flew! Take it all to help the plane people, it’s the least that we can do! Aunt Winnie baked two dozen of her partridgeberry pies She said, I think those plane people will be in for some surprise! So the people were all settled, and much to their delight There were home-cooked meals and showers in homes, even trips to see the sights Though they came from countries ‘round the world, they did seem to all fit in And in kitchen parties here and there, new found friends were being screeched in. Chorus: Soon the skies, they were reopened, just a week and they were gone Though the planes took off into the skies all the memories lingered on For what they all remember, and what’s talked of to this day Is how townsfolk cared for people who had come from far away. So let’s sing and let’s be thankful, for each and every one Who showed us how to live together in the year two-thousand one, Let’s celebrate their kindness, for we never will forget, That in Newfoundland a stranger’s just a friend you haven’t met. Chorus:
$3.00
2.74 €
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Piano, Vocal and Guitar
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David Kai
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When the World Drops In to Town
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David Kai
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SheetMusicPlus
When the World Drops In to Town
Mixed Percussion Accordion,Acoustic Guitar,Electric Bass Guitar,Violin - Level 3 - Digital…
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Mixed Percussion Accordion,Acoustic Guitar,Electric Bass Guitar,Violin - Level 3 - Digital Download SKU: A0.1105258 By David Kai. By David Kai. Arranged by David Kai. Celtic,Country,Folk,Irish. Full Performance. Duration 233. David Kai #708518. Published by David Kai (A0.1105258). A song celebrating the people of Gander, Newfoundland & Labrador in Canada who helped close to 7,000 stranded airline passengers after September 11, 2001. The story of Gander and the surrounding towns has been immortalized in the Broadway show, Come From Away. The song is written in a Celtic/Newfoundland style. This song features the use of an Ugly Stick, a traditional Newfoundland percussion instrument. WHEN THE WORLD DROPS IN TO TOWN Words and music by David Kai ©2020 On the 11th of September, in a quiet little town In a place that they call Newfoundland, all the planes were coming down Just how many were arriving, it was hard to know or tell In a quiet town in Newfoundland on the day the towers fell. With ten thousand waiting on the ground, seven thousand on their way The schools and halls and churches were preparing for their stay And not only in Gander, but in places all around ‘Cause you’ve got to pull together when the world drops into town. Chorus: So raise a glass to them, let’s sing a song to cheer For all the workers, cooks and clerks, for all the volunteers Who showed such kindness, who stepped up when chips were down ‘Cause you’ve got to pull together when the world drops into town All the stores they opened up their doors, the supplies, how fast they flew! “Take it all to help the plane people, it’s the least that we can do!†Aunt Winnie baked two dozen of her partridgeberry pies She said, “I think those plane people will be in for some surprise!†So the people were all settled, and much to their delight There were home-cooked meals and showers in homes, even trips to see the sights Though they came from countries ‘round the world, they did seem to all fit in And in kitchen parties here and there, new found friends were being screeched in. Chorus: Soon the skies, they were reopened, just a week and they were gone Though the planes took off into the skies all the memories lingered on For what they all remember, and what’s talked of to this day Is how townsfolk cared for people who had come from far away. So let’s sing and let’s be thankful, for each and every one Who showed us how to live together in the year two-thousand one, Let’s celebrate their kindness, for we never will forget, That in Newfoundland a stranger’s just a friend you haven’t met. Chorus:.
$1.99
1.82 €
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David Kai
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When the World Drops In to Town
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David Kai
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SheetMusicPlus
Wonderful Words of Life
Large Print Hymnal
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Large Print Hymnal Large Print Hymnal - 125 of the best known hymns and gospel songs in LARGE PRINT (16 pt Ariel) and lower keys. Also includes 30 thoughtful devotionals on subjects such as Fear, Grace, etc. which serve as song and topic dividers. You'll treasure this attractive songbook! New! You asked, we listened: We now offer recordings of the piano accompaniments for the entire book. Each hymn has been recorded in its entirety. A set of 5 CDs to sing along with makes it possible to enjoy group performance of the great hymns anywhere there is a CD player
Song List: A Child Of The King A Mighty Fortress Is Our God Abide with Me Amazing Grace At Calvary At the Cross Be Still, My Soul Beneath The Cross Of Jesus Beyond The Sunset Blessed Assurance Blest Be The Tie That Binds Break Thou The Bread Of Life Bringing In The Sheaves Christ Arose! Christ, the Lord, Is Risen Today Come, Thou Almighty King Come, Thou Fount Of Every Blessing Come, We That Love The Lord Come, Ye Thankful People, Come Count Your Blessings Crown Him with Many Crowns Day Is Dying In The West Face to Face with Christ My Savior Fairest Lord Jesus Faith of Our Fathers For The Beauty Of The Earth God Be With You God Of Our Fathers God Will Take Care of You Great Is Thy Faithfulness Guide Me, O Thou Great Jehovah Have Thine Own Way, Lord! He Leadeth Me He Lives He's Got The Whole World In His Hands Heavenly Sunlight Hiding In Thee His Eye Is On The Sparrow His Name Is Wonderful Holy, Holy, Holy How Firm A Foundation How Great Thou Art I Am His And He Is Mine I Am Thine, O Lord I Have Decided to Follow Jesus I Know Whom I Have Believed I Love To Tell The Story i need Thee Every hour In Christ There Is No East Or West In the Cross of Christ In the Garden It Came Upon the Midnight Clear It Is Well With My Soul Ivory Palaces Jesus Calls Us Jesus Is All The World To Me Jesus Loves Me! Jesus, Savior, Pilot Me Jesus, the Very Thought of Thee Joy To The World Just A Closer Walk With Thee Just As I Am, Without One Plea Lead Me To Calvary Leaning on the Everlasting Arms Let The Lower Lights Be Burning Love Divine, All Loves Excelling More About Jesus Would I Know More Love To Thee My Faith Looks Up To Thee My Hope Is Built On Nothing Less My Jesus, I Love Thee Near The Cross Near to the Heart of God Nearer, My God, to Thee No, Not One! Now Thank We All Our God O Come, All Ye Faithful O For A Heart To Praise My God O for a Thousand Tongues to Sing O God, Our Help In Ages Past O Happy Day Oh, How He Loves You and Me! Oh, How I Love Jesus O Little Town of Bethlehem O Love That Will Not Let Me Go O Master, Let Me Walk With Thee O Worship the King Only Trust Him Onward, Christian Soldiers Open My Eyes, That I May See Pass Me Not Rescue the Perishing Revive Us Again Rock Of Ages Safe In The Arms Of Jesus Saved By Grace Savior, Like a Shepherd Lead Us Shall We Gather at the River? Showers Of Blessing Silent Night! Holy Night! Stand Up, Stand Up for Jesus Standing On The Promises Sweet By And By Sweet Hour of Prayer Take My Life and Let It Be Take The Name Of Jesus With You Take Time To Be Holy Tell Me The Old, Old Story The Bond Of Love The Church In The Wildwood The Church's One Foundation The Light Of The World Is Jesus The Lord's My Shepherd, I'll Not Want The Old Rugged Cross This Is My Father's World 'Tis So Sweet to Trust in Jesus Trust and Obey Turn Your Eyes upon Jesus Were You There? What a Friends We Have in Jesus When I Survey the Wondrous Cross When Morning Gilds the Skies When The Roll Is Called Up Yonder Wonderful Words Of Life
$19.95
18.25 €
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Wonderful Words of Life
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SheetMusicPlus
Could I Have This Dance
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.1241593 By Anne Murray. By Bob Hous…
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Piano Solo - Level 4 - Digital Download SKU: A0.1241593 By Anne Murray. By Bob House and Wayland Holyfield. Arranged by Timothy Stapay. Country,Film/TV,Pop,Singer/Songwriter,Standards. Score. 4 pages. Timothy Stapay #836965. Published by Timothy Stapay (A0.1241593). A traditionl Country-Style arrangement of Could I Have This Dance; from the movie Urban Cowboy. Could I Have This Dance is a song recorded by the Canadian country music artist Anne Murray. It was used in the 1980 film Urban Cowboy and appeared on both the Urban Cowboy soundtrack album for that film, as well as on the Anne Murray's Greatest Hits compilation album, issued in late 1980. Later on, it also appeared on Murray's 2007 album Anne Murray Duets: Friends & Legends, performed as a duet with Amy Grant.As a single, it was released in August 1980 and became Murray's fifth number one country hit as a solo artist. It went to number one for one week and spent a total of ten weeks on the country chart. Could I Have This Dance was also Murray's tenth Top 40 on the U.S. pop singles chart, peaking at number 33. The song was written by Wayland Holyfield and Bob House.Lyrics:I'll always remember the song they were playin'The first time we danced and I knewAs we swayed to the music and held to each otherI fell in love with youCould I have this dance for the rest of my life?Would you be my partner every night?When we're together it feels so rightCould I have this dance for the rest of my life?I'll always remember that magic momentWhen I held you close to meAs we moved together, I knew foreverYou're all I'll ever needCould I have this dance for the rest of my life?Would you be my partner every night?When we're together it feels so rightCould I have this dance for the rest of my life?Could I have this dance for the rest of my life?Would you be my partner every night?When we're together it feels so rightCould I have this dance for the rest of my life?
$6.99
6.39 €
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Piano solo
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Anne Murray
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Could I Have This Dance
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Timothy Stapay
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SheetMusicPlus
They Saw a Star Christmas Cantata for SATB optional instruments and piano
Alto Voice,Bass Voice,Cello,Piano Accompaniment,Soprano voice,Tenor Voice,Violin - Level 3…
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Alto Voice,Bass Voice,Cello,Piano Accompaniment,Soprano voice,Tenor Voice,Violin - Level 3 - Digital Download SKU: A0.1318802 Composed by Connie Boss. Arranged by Connie Boss. Christmas,Holiday. 122 pages. Connie Boss #907356. Published by Connie Boss (A0.1318802). Everyone knows how special the star was for the birth of Jesus. The star guided many along the way to find the manger that Mary, Joseph and the newborn baby, Jesus were at. This cantata reflects the importance of the star during that time. Most of the songs have lyrics about the star.  The cantata starts off with Mary finding out from the angel that God chose her to bear his son - Ave Maria was redone for this advent moment. It keeps to the melody and Ave Maria words are still part of the lyrics. Some of the lyrics have the English translation in the song, while other lyrics are new for this Christmas song. The next song O Little Town of Bethlehem is where Mary and Joseph have to travel to pay their taxes and where   Jesus is born. This is where the star shines down for all to see.  This is the traditional song, but I have added extra lyrics at the end of each original verse. Next, the shepherds seeing the star decide to travel to Bethlehem. Pachelbel Canon is so iconic, but I have added lyrics from While Shepherds watched their flocks by night, Away in a Manger, What Child is This and The First Noel. The choir parts bring rich harmonies to the piece. The Angels said leave your sheep and leave your lambs. Rise up Shepherd and Follow. Now we are at the manger. I composed the song - A Little Baby. He was born to save us all. . Still, Still, Still “Tis the Night of Our Savior’s Birth has added lyrics to each verse that ties in with the original lyrics. The title of this cantata is They Saw A Star - this is from the song I composed with the same title. It not only brings in the shepherds, but also the Three Wisemen. To close out this cantata, I have used the lyrics from We Three Kings and the melody of Scarborough Fair. This arrangement has an ST duet with SATB choir parts with ahhs that sound very mysterious. It also does include parts for strings if you are lucky enough to have violins and a cello. The strings parts are the same as the choir parts, so it is perfectly fine to do this with just a choir.  I hope you enjoy singing and listening to this cantata—Connie Boss.
$10.00
9.15 €
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Connie Boss
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They Saw a Star Christmas Cantata for SATB optional instruments and piano
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Connie Boss
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SheetMusicPlus
Clair de Lune (with piano fingering as needed)
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.553098 Composed by Claude Debussy. …
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Piano Solo - Level 3 - Digital Download SKU: A0.553098 Composed by Claude Debussy. Arranged by Scott Camp. 20th Century,Concert,Graduation,Standards,Wedding. Score. 13 pages. Scott Camp #3909193. Published by Scott Camp (A0.553098). Possibly the most beautiful piece of music ever.This edition presents Debussy's masterpiece with as close to 100% clarity as possible: no arrangement, no simplification, no abridgement, only solutions to the challenges of how to play this amazing masterpiece. In my experience, I would guess that Clair de lune has been the final, unfulfilled and unattained goal of piano students more than any other piece in music history.If you recognize the truth in this statement, you owe it to yourself to investigate this edition, in which for the first time, all of the technical challenges are clearly identified with their solutions. Playing a piece of music is not the same as mastering it. Surviving a performance is not the same as playing with confidence. There is no joy in being vulnerable to embarrassing mistakes. It is no way to live. You deserve a set of instructions (this edition) that enables you to master your performance, play with confidence and beauty, not an edition which blocks your access.Clair de Lune is so familiar that it is hard to appreciate just how revolutionary it (and Debussy) are. The word revolutionary is overused, so we fail to realize that Clair de Lune is difficult to play largely because it was difficult to notate. If the faculty of the Paris Conservatory didn't understand or appreciate Debussy, why would we expect the staff of a publishing company (as competent as they were) to understand the demands of his music. Debussy broke the boundaries of conventional piano notation. That means contradictions and ambiguity, which must be addressed.A note about fingering: where and why it is or is not presented. I've done my best to prepare an edition of this music that will enable the Intermediate Classical pianist to prepare and perform this masterpiece. My goal is to include information that the pianist needs, but does not already know. For Claire de Lune, some passages are dependent upon specific hand/fingering solutions, while other passages are either (1) equally playable with different fingering, or (2) only playable by what essentially becomes known as a self-evident solution. For example, m9-24, and m61-62, fall into this category. Octaves can only practically be played with fingers 1 and 5. I provide a lot of finger numbers, but that is not the same as creating an edition that can be played without significant staff reading. The premise is that an intermediate musician should have access to advanced material--that is a musician is motivated to play pieces one level more advanced. Attempting to bridge more than one level is not my goal.
$1.99
1.82 €
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Piano solo
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Claude Debussy
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Clair de Lune
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Scott Camp
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SheetMusicPlus
Two Love Songs
Choral 3-part
Choral Choir (SSA) - Level 4 - Digital Download SKU: A0.873033 Composed by Sally Wh…
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Choral Choir (SSA) - Level 4 - Digital Download SKU: A0.873033 Composed by Sally Whitwell. A Cappella,Contemporary. Octavo. 9 pages. Sally Whitwell #3873149. Published by Sally Whitwell (A0.873033). I entered into a composition competition in the Northern Hemisphere summer of 2014. It was a part of something called the F​ estival of Love​ p​resented by Southbank in London, a festival celebrating the enactment of the Same Sex Couple Act in the United Kingdom. This issue is close to my heart as my partner is from the UK and we are as gay as a row of rainbow striped teepees.During the festival, members of the public passing through Southbank Centre were asked to write down a couple of sentences about something they love. Those texts were then posted on the internet and composers were invited over a period of just 24 hours, to set them to music for a cappella female vocal trio ​Ju​ice​. ​​​I was absolutely thrilled that one of my compositions, G​​oing Somewhere​​, was selected for performance.Although I will likely never meet the authors of these texts Ella from Brixton, nor Susie from Hammersmith, (I mean, they didn’t even leave their surnames!) I like to think I have a creative connection to them. Just like Ella, i really enjoy being on my little island-of-me as I walk through the city or sit on a train, the stimulus of the flow of energy and people around me is something I very much enjoy. I also really love Susie was able to find her place in the world at trapeze school. This world is so richly diverse in its opportunities, there’s surely got to be something for everyone.
$1.99
1.82 €
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Choral 3-part
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Sally Whitwell
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Two Love Songs
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Sally Whitwell
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SheetMusicPlus
9.28.85
Trombone
Trombone Solo - Level 5 - Digital Download SKU: A0.799352 Composed by Drake Mabry. …
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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
7.31 €
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Trombone
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Drake Mabry
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9.28.85
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Drake Mabry
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SheetMusicPlus
Gregory Sullivan Isaacs: Songs From Calamus for tenor voice and piano
Tenor voice
Tenor Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.533282 Composed by Greg…
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Tenor Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.533282 Composed by Gregory Sullivan Isaacs. Contemporary,Holiday,Love. 21 pages. Musik Fabrik Music Publishing #2331251. Published by Musik Fabrik Music Publishing (A0.533282). Whitman only published one book – Leaves of Grass – but it was always a work in progress. He added poems and revised others for each succeeding edition. Thus, the first edition (1819) was a small book with only 12 poems and the last, often refered to as the Deathbed Edition (1892), contained over 400. Some of these he wrote in “clusters†of related poems. Such is the case with the Calamus cluster. The title was chosen to alert the reader that these were poems about what he called “the love of comrades,†“manly love†or with the code word, “adhesiveness.†The concept of homosexuality, as we know it today, was very different in Whitman’s time, but violently socially taboo. Acorus calamus is a reed-like species of marsh grass. In Poetry and Prose, Whitman wrote that it s a … very large and aromatic grass, or root, spears three feet high—often called 'sweet flag'—grows all over the Northern and Middle States.†The phallic plant has always been a symbol of love and associated with the Greek myth of Kalamos, son of the river god who loved the youth Karpos. When Karpos died in a swimming accident, Kalamos transformed himself into a reed so he could always be near the spot where his beloved died, and the rustling of the reeds in the winds sounds like moans of mourning. The Calamus cluster, 39 poems in all, recount the story of a manly love found and lost from the perspective of some time later. They are bittersweet memories. I chose four poems for my own cluster. They represent the four stages of such a relationship: initial attraction, first coy interactions, full-blossomed love, and the bitterness of it’s ending. It is possible that these events actually happened or that they all occurred in the poets mind without ever revealing his thoughts to the intended. Some musical devices, such as the rustling of the leaves in the third song and the constant use of seconds as two people who are close but not yet together in the second one, are obvious. But, other than some indications of tempo, I hesitate to give out remarks about how to perform the songs, or even metronome markings, that might give the singer a preconceived notion. This situation has happened to everyone. So, I say to the singer: revive the memories of a similar event in your life: a particularly heartbreaking one is best. Bring the telling of that memory to the vivid present, and tell us that story as if it ending some time ago but the hurt remains strong, If, by some chance, the singer has not had this experience, he should wait to sing this cycle until he has. The composer
$16.95
15.5 €
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Tenor voice
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Songs From Calamus for tenor voice and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Gregory Sullivan Isaacs: Songs From Calamus for baritone voice and piano
Baritone Horn TC,Vocal Solo,Voice - Digital Download SKU: A0.533384 Composed by Gre…
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Baritone Horn TC,Vocal Solo,Voice - Digital Download SKU: A0.533384 Composed by Gregory Sullivan Isaacs. Contemporary,Holiday,Love. 20 pages. Musik Fabrik Music Publishing #2803929. Published by Musik Fabrik Music Publishing (A0.533384). Whitman only published one book – Leaves of Grass – but it was always a work in progress. He added poems and revised others for each succeeding edition. Thus, the first edition (1819) was a small book with only 12 poems and the last, often refered to as the Deathbed Edition (1892), contained over 400. Some of these he wrote in “clusters†of related poems. Such is the case with the Calamus cluster. The title was chosen to alert the reader that these were poems about what he called “the love of comrades,†“manly love†or with the code word, “adhesiveness.†The concept of homosexuality, as we know it today, was very different in Whitman’s time, but violently socially taboo. Acorus calamus is a reed-like species of marsh grass. In Poetry and Prose, Whitman wrote that it s a … very large and aromatic grass, or root, spears three feet high—often called 'sweet flag'—grows all over the Northern and Middle States.†The phallic plant has always been a symbol of love and associated with the Greek myth of Kalamos, son of the river god who loved the youth Karpos. When Karpos died in a swimming accident, Kalamos transformed himself into a reed so he could always be near the spot where his beloved died, and the rustling of the reeds in the winds sounds like moans of mourning. The Calamus cluster, 39 poems in all, recount the story of a manly love found and lost from the perspective of some time later. They are bittersweet memories. I chose four poems for my own cluster. They represent the four stages of such a relationship: initial attraction, first coy interactions, full-blossomed love, and the bitterness of it’s ending. It is possible that these events actually happened or that they all occurred in the poets mind without ever revealing his thoughts to the intended. Some musical devices, such as the rustling of the leaves in the third song and the constant use of seconds as two people who are close but not yet together in the second one, are obvious. But, other than some indications of tempo, I hesitate to give out remarks about how to perform the songs, or even metronome markings, that might give the singer a preconceived notion. This situation has happened to everyone. So, I say to the singer: revive the memories of a similar event in your life: a particularly heartbreaking one is best. Bring the telling of that memory to the vivid present, and tell us that story as if it ending some time ago but the hurt remains strong, If, by some chance, the singer has not had this experience, he should wait to sing this cycle until he has. The composer
$16.95
15.5 €
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Songs From Calamus for baritone voice and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
My Baby (A Mother's Lullaby) - solo and piano
Piano, Vocal and Guitar
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.801629 Composed by Co…
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.801629 Composed by Connie Boss. Children,Country,Folk,Holiday,Pop. Score. 4 pages. Connie Boss #6329711. Published by Connie Boss (A0.801629). As I sat one morning by the water, I noticed the sunlight twinkling and sparkling as it reflected off of it. It was so peaceful and beautiful. I wondered about a song that I might reference it. I decided to compose a lullaby for a mother singing to her baby. I think of eyes that twinkle and sparkle and your child definitely has eyes that reflect that. At least I know mine did. There is a piano accompaniment mp3 for sale if you don't play.cdboss@cvalley.netLyrics:My Baby (A Mother’s Lullaby) Composed by Connie Boss Refrain: My baby, your eyes, twinkle and they sparkle My baby, just like sunlight on the water Verses: I fell in Love with you when I saw your face You are my baby, no one can take your place Refrain: I count your fingers and then your little toes Each time I look at you, my love for you grows Refrain: Your cheeks were made to kiss and I just can’t resist To kiss your little nose and your little toes Refrain: Bridge: We play pat-a-cake and play peek-a-boo These are all the things that you love to do We snuggle close. Rock you to sleep And lay you down without a peep Refrain: Ending: My baby, My baby
$5.00
4.57 €
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Piano, Vocal and Guitar
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Connie Boss
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My Baby
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Connie Boss
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SheetMusicPlus
My Baby (A Mother's Lullaby) - violin duet and piano
String Ensemble - Level 2 - Digital Download SKU: A0.801631 Composed by Connie Boss…
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String Ensemble - Level 2 - Digital Download SKU: A0.801631 Composed by Connie Boss. Folk,Holiday,Pop,Wedding. Score and parts. 3 pages. Connie Boss #6331181. Published by Connie Boss (A0.801631). As I sat one morning by the water, I noticed the sunlight twinkling and sparkling as it reflected off of it. It was so peaceful and beautiful. I wondered about a song that I might reference it. I decided to compose a lullaby for a mother singing to her baby. I think of eyes that twinkle and sparkle and your child definitely has eyes that reflect that. At least I know mine did.There is an accompaniment mp3 for sale if you don't play.cdboss@cvalley.netLyrics:My Baby(A Mother’s Lullaby)Composed by Connie Boss Refrain:My baby, your eyes, twinkle and they sparkleMy baby, just like sunlight on the water Verses: I fell in Love with you when I saw your faceYou are my baby, no one can take your place Refrain: I count your fingers and then your little toesEach time I look at you, my love for you grows Refrain: Your cheeks were made to kiss and I just can’t resistTo kiss your little nose and your little toes Refrain: Bridge: We play pat-a-cake and play peek-a-booThese are all the things that you love to doWe snuggle close. Rock you to sleepAnd lay you down without a peep Refrain: Ending: My baby, My baby
$5.00
4.57 €
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Connie Boss
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My Baby
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Connie Boss
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SheetMusicPlus
My Baby (A Mother's Lullaby) - duet and piano
Small Ensemble Guitar,Piano,Voice - Level 2 - Digital Download SKU: A0.801630 Compo…
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Small Ensemble Guitar,Piano,Voice - Level 2 - Digital Download SKU: A0.801630 Composed by Connie Boss. Children,Folk,Holiday,Pop,Wedding. Score and parts. 3 pages. Connie Boss #6330861. Published by Connie Boss (A0.801630). As I sat one morning by the water, I noticed the sunlight twinkling and sparkling as it reflected off of it. It was so peaceful and beautiful. I wondered about a song that I might reference it. I decided to compose a lullaby for a mother singing to her baby. I think of eyes that twinkle and sparkle and your child definitely has eyes that reflect that. At least I know mine did.There is a piano accompaniment mp3 for sale if you don't play.cdboss@cvalley.netLyrics:My Baby(A Mother’s Lullaby)Composed by Connie Boss Refrain:My baby, your eyes, twinkle and they sparkleMy baby, just like sunlight on the water Verses: I fell in Love with you when I saw your faceYou are my baby, no one can take your place Refrain: I count your fingers and then your little toesEach time I look at you, my love for you grows Refrain: Your cheeks were made to kiss and I just can’t resistTo kiss your little nose and your little toes Refrain: Bridge: We play pat-a-cake and play peek-a-booThese are all the things that you love to doWe snuggle close. Rock you to sleepAnd lay you down without a peep Refrain: Ending: My baby, My baby
$5.00
4.57 €
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Connie Boss
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My Baby
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Connie Boss
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SheetMusicPlus
My Baby (A Mother's Lullaby) - cello and violin duet and piano
Small Ensemble Cello,Guitar,Piano,Violin - Level 2 - Digital Download SKU: A0.801632
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Small Ensemble Cello,Guitar,Piano,Violin - Level 2 - Digital Download SKU: A0.801632 Composed by Connie Boss. Folk,Holiday,Pop,Wedding. Score and parts. 3 pages. Connie Boss #6331183. Published by Connie Boss (A0.801632). As I sat one morning by the water, I noticed the sunlight twinkling and sparkling as it reflected off of it. It was so peaceful and beautiful. I wondered about a song that I might reference it. I decided to compose a lullaby for a mother singing to her baby. I think of eyes that twinkle and sparkle and your child definitely has eyes that reflect that. At least I know mine did.There is an accompaniment mp3 for sale if you don't play.cdboss@cvalley.netLyrics:My Baby(A Mother’s Lullaby)Composed by Connie Boss Refrain:My baby, your eyes, twinkle and they sparkleMy baby, just like sunlight on the water Verses: I fell in Love with you when I saw your faceYou are my baby, no one can take your place Refrain: I count your fingers and then your little toesEach time I look at you, my love for you grows Refrain: Your cheeks were made to kiss and I just can’t resistTo kiss your little nose and your little toes Refrain: Bridge: We play pat-a-cake and play peek-a-booThese are all the things that you love to doWe snuggle close. Rock you to sleepAnd lay you down without a peep Refrain: Ending: My baby, My baby
$5.00
4.57 €
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Connie Boss
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My Baby
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Connie Boss
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SheetMusicPlus
Edwin Culver: a bridge a-way, exits within (for solo guitar)
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. …
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Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published by Edwin Culver (A0.1032084). Classical Guitar Solo - IntermediateComposed by Edwin Culver (1992-) 4 Pages. Duration 7'30Composer's note: Have you ever felt stuck? Trapped by something you can’t fully understand no matter how hard you try? Perhaps it’s something from our past that we never invited...or something we’ve missed in our closest relationships, maybe it’s just the dread we’ve felt waking up early in the morning to repeat the daily grind. We work hard to try and propel ourselves out of this nightmare, but we never seem to get totally free, in fact sometimes it feels like we’re just making ourselves feel worse by failing to overcome it yet again. This piece, ...a bridge a-way, exits within, represents that feedback loop, that stuckness. The piece came to me when I felt stuck in life by several things - old scars, old habits, crippling emotions. I had been wanting to write something in a minimalist style for the guitar for quite some time and the repetition found in so much minimalist music seemed like the obvious way for expressing this stuckness. There’s constant motion in the piece, just like when we try to take constant action in our lives to improve our circumstances. But all this motion never seems to get us anywhere new. We’re spinning our wheels…But one of the interesting things about great minimalist music is that it’s not merely about repetition. I don’t believe the greatest minimalists were concerned with having less stuff in their music for the sake of having less. Instead, what I think they more often aimed for was producing the biggest emotional impact that they could through the tiniest of changes. And if in your mind’s eye you zoom out from one of these minimalist masterworks and perceive it on a grand scale, you realize that despite all the seemingly redundant repetition in the moment the piece actually covers a huge distance because all those tiny changes add up.Likewise, in ...a bridge a-way, exits within, it seems like the performer can’t free himself from the territory of the first position on the guitar for the longest time. Even when he does venture higher up the instrument he’s always inextricably pulled back to the starting point. But small changes can have a profound impact.It doesn’t feel like we’re making headway whenever we’re having to crawl out of our skin - until, suddenly, when it’s all over. And you hear this towards the end of the piece, when there’s a sudden magnetic force that pulls the music from a low A to a high E-natural. From A to E, a bridge to exits eternal. The bridge has been found within, in the One I’ve put my trust in, because I can’t reach my eternal destiny on my own. This is ...a bridge a-way, exits within.
$11.99
10.97 €
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Guitar
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Edwin Culver
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Edwin Culver: a bridge a-way, exits within
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Edwin Culver
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SheetMusicPlus
Billie Eilish - Your Power
Piano, Voice
Piano Solo, Piano/Vocal/Chords - Intermediate - Digital Download By Billie Eilish. …
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Piano Solo, Piano/Vocal/Chords - Intermediate - Digital Download By Billie Eilish. Arranged by Mario Stallbaumer. 5 pages. Published by Mario Stallbaumer
With this sheet music, you can play "Your Power" by Billie Eilish on piano!<br> <br> It's an accurate, carefully created piano arrangement of the full song.<br> <br> The entire melody is included in the piano part, so it makes for a perfect instrumental / piano solo cover.<br> <br> Of course, you can also use this piano arrangement to accompany a singer, or sing along yourself - this sheet music includes a system for the singer, as well as the song's full lyrics and chords!<br> <br> "Your Power" is a song from Billie Eilish's second studio album "Happier Than Ever", and was released as the third single from the album in April 2021.<br> <br> It is a chilling acoustic ballad about the abuse of power, and the devastating consequences for victims.<br> <br> Billie Eilish stated that the song meant a lot to her:<br> "This is one of my favorite songs I've ever written. I feel very vulnerable putting this one out because I hold it so close to my heart. This is about many different situations that we've all either witnessed or experienced. I hope I can inspire change. Try not to abuse your power."<br> <br> "Your Power" also makes for a beautiful piano ballad!<br> <br> Full Lyrics:<br> <br> [Chorus]<br> Try not to abuse your power<br> I know we didn't choose to change<br> You might not wanna lose your power<br> But havin' it's so strange<br> <br> [Verse 1]<br> She said you were a hero<br> You played the part<br> But you ruined her in a year<br> Don't act like it was hard<br> And you swear you didn't know (Didn't know)<br> No wonder why you didn't ask<br> She was sleepin' in your clothes (In your clothes)<br> But now she's got to get to class<br> <br> [Pre-Chorus]<br> How dare you?<br> And how could you?<br> Will you only feel bad when they find out?<br> If you could take it all back<br> Would you?<br> <br> [Chorus]<br> Try not to abuse your power<br> I know we didn't choose to change<br> You might not wanna lose your power<br> But havin' it's so strange<br> <br> <br> [Verse 2]<br> I thought that I was special<br> You made me feel<br> Like it was my fault, you were the devil<br> Lost your appeal<br> Does it keep you in control? (In control)<br> For you to keep her in a cage?<br> And you swear you didn't know (Didn't know)<br> You said you thought she was your age<br> <br> [Pre-Chorus]<br> How dare you?<br> And how could you?<br> Will you only feel bad if it turns out<br> That they kill your contract?<br> Would you?<br> <br> [Chorus]<br> Try not to abuse your power<br> I know we didn't choose to change<br> You might not wanna lose your power<br> But power isn't pain
$4.99
4.56 €
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Piano, Voice
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Billie Eilish
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Billie Eilish - Your Power
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Mario Stallbaumer
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SheetMusicPlus
Prelude and Fugue in C major for String Orchestra - Arrangement of Beethoven Hess 31
String Orchestra
String Orchestra - Digital Download SKU: A0.933524 Composed by Ludwig van Beethoven…
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String Orchestra - Digital Download SKU: A0.933524 Composed by Ludwig van Beethoven, Cees Nieuwenhuizen. Arranged by Upstream Music. Classical. Score and parts. 24 pages. Upstream Music #6353319. Published by Upstream Music (A0.933524). The Prelude and Fugue in C major were created during the period of study with Johann Georg Albrechtsberger, who lived from February 3, 1736 to March 7, 1809. Albrechtsberger was an Austrian theoretician and pedagogue of music, an organist, as well as a composer. He entered upon his career early as a choirboy in the choir of the monastery of Melk, Austria. There he was discovered by the crown prince, the later emperor Joseph II. The latter facilitated an appointment as the court organist.Later Albrechtsberger became conductor of the chapel choir of the famous Stephansdom in Vienna. Albrechtsberger was a highly praised pedagogue; Beethoven, too, was among his pupils. It was this composer that studied with Albrechtsberger from January 1794 to March/May 1795. Together with Beethoven, Albrechtsberger researched all forms of the counterpoint, which is most manifest in the large number of exercises passed down; over 300 studies, fugues etc. have been preserved with corrections and alterations by Albrechtsberger. During this period of study, greater works were also composed, such as the Dona Nobis Pacem (Hess A57), the Prelude and Fugue in E minor (Hess 29), the Prelude and Fugue in F major (Hess 30) and the present one in C major (Hess 31). The piece was probably composed in 1794-95; this opus also shows numerous improvements and alterations by his master, although some alterations are by Beethoven himself. The manuscript of the work is to be found in Vienna, and did not appear in print until 1967 for the first time.The present version sticks closely to Beethoven’s, but has been provided with a double bass part so as to adapt the work for being performed with a larger strength than for which it was originally written. The strength originally intended by Beethoven was two violins, a viola and a cello, so as a string quartet. With the supplementary bass part, the piece can also be played by a string orchestra, which will no doubt promote its dissemination and familiarity. In a sense, the work is already a preliminary study for the string quartets Opus 18 produced later.Especially the rhythm, melodic forms, and the counterpoint applied, frequently return in these string quartets. Beethoven has hardly indicated any rests in the empty bars; Cees has as yet added them.The phrasing, dynamics and time indications have also been added. Beethoven merely writes down the notes, while we have to accept the fact that various notes have been changed by Albrechtsberger but Beethoven’s notes might have been just as interesting. Of some notes it was not clear what Beethoven exactly meant; in such a case, Cees has adhered to the harmonious form, adapting the notes which, logically speaking, fit in with the harmonic unity.
$29.00
26.52 €
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String Orchestra
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Ludwig van Beethoven, Cees Nieuwenhuizen
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Prelude and Fugue in C major for String Orchestra - Arrangement of Beethoven Hess 31
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Upstream Music
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SheetMusicPlus
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