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What More Can I Say
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What More Can I Say
SheetMusicPlus
Sheetmusic to print
178 sheet music found
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176
I Don't Want To Walk Without You
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Choral TTBB
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INTERMEDIATE
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Contemporary
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Jule Styne
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Walter Latzko
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I Don't Want To Walk Without Y
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Latzko Muzic
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SheetMusicPlus
Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.871884 Composed by Jule Styne. Arranged by Walter Latzko. Contemporary. Octavo. 6 pages. Latzko ...
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Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.871884 Composed by Jule Styne. Arranged by Walter Latzko. Contemporary. Octavo. 6 pages. Latzko Muzic #5454091. Published by Latzko Muzic (A0.871884). GREAT SONG, GREAT ARRANGEMENT. WHAT MORE CAN I SAY.
$7.99
What Else Can I Say
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Rock
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Chicago
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Patrick Sheehan
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What Else Can I Say
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Patrick Sheehan
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SheetMusicPlus
Small Ensemble - Level 5 - Digital Download SKU: A0.747867 By Chicago. By Peter Cetera. Arranged by Patrick Sheehan. Pop,Rock. Score and parts. 53 pages....
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Small Ensemble - Level 5 - Digital Download SKU: A0.747867 By Chicago. By Peter Cetera. Arranged by Patrick Sheehan. Pop,Rock. Score and parts. 53 pages. Patrick Sheehan #4968573. Published by Patrick Sheehan (A0.747867). INSTRUMENTATION: Lead Vocal, Background Vocal I, Background Vocal II, Background Vocal III, Grand Piano, Electric Guitar, Bass, Tambourine, Drumset. All parts transcribed by ear from the original recording from Chicago III released in 1971. ABOUT THE ARRANGER: Patrick Sheehan has served as a professional music arranger, transcriptionist and copyist since 1999, and has over 1,000 works in his catalog spanning various genres: wind band, orchestra, chamber music, along with pop & rock selections. His modus operandi centers around creating arrangements and transcriptions that are true to the original definitive versions and strives to produce clean and easy-to-read music. For questions or more information, please contact the arranger at PatrickSheehanMusic@GMail.com.
$15.00
What Would Nina Simone Say? For Soprano Sax & Organ (9'50")
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Saxophone and Organ
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ADVANCED
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Contemporary
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Judith Cloud
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What Would Nina Simone Say? Fo
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Judith Cloud
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Organ,Soprano Saxophone - Level 5 - Digital Download SKU: A0.981222 Composed by Judith Cloud. Contemporary. Score and...
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Instrumental Duet Instrumental Duet,Organ,Soprano Saxophone - Level 5 - Digital Download SKU: A0.981222 Composed by Judith Cloud. Contemporary. Score and parts. 24 pages. Judith Cloud #6690537. Published by Judith Cloud (A0.981222). What Would Nina Simone Say? For Soprano Sax and Organ (9'50)Program NotesI became interested in Nina Simone in the spring of 2018. She was born Eunice Waymon in Tryon, North Carolina, my own hometown. I knew little about her while I was growing up. Later I heard she was an activist and the sentiment around town I observed was that there was far from a feeling of pride about who Nina Simone was. If that really was the case (and I have no proof of it) there was a dramatic change with the creation of The Nina Simone Project in 2006. I was still ignorant of this, having lived in Arizona for most of my adult life. But researching Simone led me to an immense feeling of pride for my hometown when I read about the support she had from the white community in the 1940’s. Without that encouragement and financial support, as well as artistic support from a local piano teacher, Muriel Mazzanovich, Mrs. Mazzy, as she was called and who Nina treasured and respected all of her life, Nina Simone would never have reached the world with her unique prodigious musical talent. She was a diva by all counts and her original compositions reflect a balance of words with music that is far superior to what her contemporaries were creating. A bronze sculpture of her by Zenos Frudakis now stands on Main Street in Tryon. How can you be an artist and not reflect the times? Simone asked in an interview. That to me is the definition of an artist. The feminist writer Germaine Greer declared Every generation has to discover Nina Simone. She is evidence that female genius is real. What would Nina Simone say today? I think she’d be mad as hell and screaming about revolution, probably still advocating for the use of violence. I’ve used some of Simone’s energetic and compelling motives in this composition. It is my own tribute to her genius and to how she gave to the world so much even though she was plagued with agonizing physical and mental ailments. That suffering seems to me an undercurrent in each video I have watched of her concerts. What I would give to have been in her presence for one of those concerts! She embodied music as an art form, revering her musical teachers, Bach, especially. That she never achieved her main goal of becoming the first female African-American classical pianist of world stature is perhaps not so sad when you think of how many more people she moved with her talent expressed in jazz and folk popular idioms. But she was prone to violence and many people, even those closest to her, were often fearful of her rage. She was misunderstood for so many years and it was only in the last two decades of her life that her moods were somewhat controlled through use of prescription drugs. The musical life that began for Eunice Waymon when she was seven years old playing the piano and organ for services at St. Luke’s C.M.E. Church (where her mother was the preacher) in Tryon, N.C. traversed many cities in many countries. She died at the age of 70 in 2003 in Carry-le-Rouet, France.
$15.00
What Can I Say
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Rock
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Chicago
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Patrick Sheehan
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What Can I Say
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Patrick Sheehan
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SheetMusicPlus
Small Ensemble - Level 5 - Digital Download SKU: A0.747997 By Chicago. By David Babyface Foster and James Pankow. Arranged by Patrick Sheehan. Pop,Rock. ...
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Small Ensemble - Level 5 - Digital Download SKU: A0.747997 By Chicago. By David Babyface Foster and James Pankow. Arranged by Patrick Sheehan. Pop,Rock. Score and parts. 75 pages. Patrick Sheehan #5010123. Published by Patrick Sheehan (A0.747997). INSTRUMENTATION: Lead Vocal, Lead Vocal Echo, Background Vocal I, Background Vocal II, Background Vocal III, Tenor Saxophone (Bb), Trumpet (Bb), Trombone (+ overdub), Keyboard I, Keyboard II, Keyboard III, Keyboard IV, Bass, Cabasa, Drumset. All parts transcribed by ear from the original recording from CHICAGO 16, released in 1982. ABOUT THE ARRANGER: Patrick Sheehan has served as a professional music arranger, transcriptionist and copyist since 1999, and has over 1,000 works in his catalog spanning various genres: wind band, orchestra, chamber music, along with pop & rock selections. His modus operandi centers around creating arrangements and transcriptions that are true to the original definitive versions and strives to produce clean and easy-to-read music. For questions or more information, please contact the arranger at PatrickSheehanMusic@GMail.com.
$25.00
What More Can I Say?
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Piano, Voice
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Robert Wade
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What More Can I Say?
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Robert Wade
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SheetMusicPlus
Piano,Vocal,Voice - Digital Download SKU: A0.944228 Composed by Robert Wade. Christian. Score. 7 pages. Robert Wade #5727851. Published by Robert Wade (A...
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Piano,Vocal,Voice - Digital Download SKU: A0.944228 Composed by Robert Wade. Christian. Score. 7 pages. Robert Wade #5727851. Published by Robert Wade (A0.944228). From the Musical The Road to Emmaus.
$3.00
D'amore Si Muore (Milva Version)
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Flute and Piano
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INTERMEDIATE
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Milva
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Eileen Gilligan
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D'amore Si Muore
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The Flautist
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SheetMusicPlus
Piano,Soprano Flute - Level 3 - Digital Download SKU: A0.1437015 By Milva. By Carlo Carunchio, Ennio Morricone, and Giuseppe Patroni Griffi. Arranged by ...
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Piano,Soprano Flute - Level 3 - Digital Download SKU: A0.1437015 By Milva. By Carlo Carunchio, Ennio Morricone, and Giuseppe Patroni Griffi. Arranged by Eileen Gilligan. 21st Century,Classical,Film/TV,Instructional,Traditional. Score and part. 9 pages. The Flautist #1017083. Published by The Flautist (A0.1437015). D'Amore Si Muore is an excellent way to practice words, expression and phrasing. In this case variations on “love you ” all the way through.Relates brilliantly to Melodious Studies number 11, 13, 14 and also 8.I am a big fan of playing slowly and having absolute control of everything I do down to the last detail and a melody like this is a great tool to practice this. I don’t believe one can play fast before control over slow playing and expression is mastered.Our most natural instrument is our voice . Singing and playing this melody is a terrific way to bridge the gap between the metal flute and one’s voice. The outcome is an amazing resonance ,musical quality in the tone and natural phrasing.Moyse was asked what he thought the French School of flute playing was and he answered” being able to sound like other instruments”. We have to start with the first port of call – our voice.The words you can use for phrasing are ” love you , love you , love you , love you, love you so.” “I really love you so much” ” I really love you so” etc all the way through . You can make up your own.It is worth singing and playing this through. By that I mean play 2 notes, sing 2 and play 2 all the way through without interrupting the musical flow, resonance and tone quality. Great for practising going between singing and playing quickly.Love was a favourite word of Moyse and Wibb. I see why!. It innately has so much expression, warmth, opens up the mouth and in Moyse’s words “scoops the last spoonful of mayonnaise from the jar. ” You definitely can’t say it with “an ugly nasal voice”- Moyse quote.The tone has to have life and expression. I hear so often soft playing as the player blowing softly but that gives such a dull lifeless outcome.
$6.95
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Violin I
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Violin
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ADVANCED
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Contemporary
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and Smile"
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Benjamin Sajo
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SheetMusicPlus
Violin Solo - Level 5 - Digital Download SKU: A0.1018937 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. 5 pages. Benjamin Sajo #6072975. Pub...
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Violin Solo - Level 5 - Digital Download SKU: A0.1018937 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. 5 pages. Benjamin Sajo #6072975. Published by Benjamin Sajo (A0.1018937). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$3.50
What A Wonderful World
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Piano solo
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INTERMEDIATE/ADVANCED
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Louis Armstrong
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Timothy Stapay
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What A Wonderful World
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Timothy Stapay
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1438013 By Louis Armstrong. By Bob Thiele and George David Weiss. Arranged by Timothy Stapay. Broadway,Fi...
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Piano Solo - Level 4 - Digital Download SKU: A0.1438013 By Louis Armstrong. By Bob Thiele and George David Weiss. Arranged by Timothy Stapay. Broadway,Film/TV,Jazz,Musical/Show,Singer/Songwriter,Standards. Score. 6 pages. Timothy Stapay #1018085. Published by Timothy Stapay (A0.1438013). When it comes to timeless classics, few songs can compare to “What a Wonderful World” by Louis Armstrong’s Orchestra and Chorus. Released in 1967, this beautiful melody has transcended decades, touching the hearts of millions across the globe. After it was heard in the film Good Morning, Vietnam, it was reissued as a single in 1988, and rose to number 32 on the Billboard Hot 100. Armstrong's recording was inducted to the Grammy Hall of Fame in 1999.In a world often plagued by strife and uncertainty, the song serves as a gentle reminder to focus on the positive aspects of life. It urges us to look beyond our differences and embrace the beauty that surrounds us. It celebrates the wonders of nature, the innocence of children, and the power of love, instilling a renewed sense of appreciation for the world we live in.I see trees of green, red roses tooI see them bloom for me and youAnd I think to myself what a wonderful worldI see skies of blue and clouds of whiteThe bright blessed day, the dark sacred nightAnd I think to myself what a wonderful worldThe colors of the rainbow so pretty in the skyAre also on the faces of people going byI see friends shaking hands saying how do you doThey're really saying I love youI hear babies crying, I watch them growThey'll learn much more than I'll never knowAnd I think to myself what a wonderful worldYes I think to myself what a wonderful world.
$7.99
What Did I Say To Old St. Nick
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Organ
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Christmas
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What Did I Say To Old St. Nick
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Hal Leonard - Digital
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SheetMusicPlus
Electronic Keyboard,Organ,Piano and Keyboard - Digital Download SKU: HX.614525 This edition: scorch. E-Z Play Today. Christmas. Score. 4 pages. Hal Leona...
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Electronic Keyboard,Organ,Piano and Keyboard - Digital Download SKU: HX.614525 This edition: scorch. E-Z Play Today. Christmas. Score. 4 pages. Hal Leonard - Digital #916504. Published by Hal Leonard - Digital (HX.614525). About Hal Leonard E-Z Play TodayFor organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar.
$2.99
Que Sera, Sera (whatever Will Be, Will Be)
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Choral SATB
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INTERMEDIATE
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Pop music
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Doris Day
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Justin Goh
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Que Sera, Sera
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Justin Goh
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.878811 By Doris Day. By Jay Livingston and Raymond B. Evans. Arranged by Justin Goh. Pop. Octavo...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.878811 By Doris Day. By Jay Livingston and Raymond B. Evans. Arranged by Justin Goh. Pop. Octavo. 9 pages. Justin Goh #3859777. Published by Justin Goh (A0.878811). SATB ChoirA cappellaSample recording: https://www.youtube.com/watch?v=UwXiFG5YRBU--The idea of arranging this piece first came to me when I attended a Folksong Arrangement class. I was tasked to think about what songs my grandparents sang to me. Que Sera, Sera, although not a folksong, was the first that came to mind. My maternal grandmother had sung this to me in my younger days. Not long after, my grandmother announced that she intended to sell her house - the very house that I spent most of my growing-up years in. This was followed by many weeks of packing her belongings, uncovering forgotten treasures, and recalling the days of my childhood. Quite aptly, arranging this piece gave me an avenue to express my sentimental thoughts, and say goodbye to an old house filled with so many memories. I hope that both the performer and the listener can be transported back in time, even if just for a few minutes, to reminisce the happier and more carefree days of our lives. Furthermore, let us count our blessings in the present, as the future’s not ours to see. Que Sera, Sera. What will be, will be. --If you have questions or comments, I'm most happy to hear from you at justingohcj@gmail.com
$3.99
What If?
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Concert band
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EASY
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John Bratton
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What If?
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John Bratton
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SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.1015662 Composed by John Bratton. Instructional,Standards. Score and parts. 56 pages. John Bratton #481...
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Concert Band - Level 2 - Digital Download SKU: A0.1015662 Composed by John Bratton. Instructional,Standards. Score and parts. 56 pages. John Bratton #4810785. Published by John Bratton (A0.1015662). What If?For Concert BandDifficulty: METhis piece was inspired by and dedicated to the memory of a student I taught at Campbell High School who passed away this past fall. As one of my students, Jose continuously inspired me to look on the bright side of each day. I hope that this simple piece of music can say what my words cannot express.Learn more about John on his website: www.creativeintonationmusic.com
$60.00
The Cantankerous Conquistador
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Concert band
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INTERMEDIATE/ADVANCED
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Sean A
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The Cantankerous Conquistador
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Sean A. Ryan
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SheetMusicPlus
Concert Band - Level 4 - Digital Download SKU: A0.1503656 Composed by Sean A. Ryan. 21st Century,Classical,Comedy,Contemporary,March. 71 pages. Sean A. R...
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Concert Band - Level 4 - Digital Download SKU: A0.1503656 Composed by Sean A. Ryan. 21st Century,Classical,Comedy,Contemporary,March. 71 pages. Sean A. Ryan #1079139. Published by Sean A. Ryan (A0.1503656). This piece tells the ficticious story of an inept, incompitant, yet quite pompous prefect conquistador and his poor attempt to colonize an indigenous village. The natives keep out smarting him, and sabotaging his plans. Things get so out of hand, that he can't even keep his own people in line. This makes the Prefect irate and ill-tempered, more so to his own company, than to the natives! What am I to tell the queen?!. I can't have my name soiled like this!. Upon hearing that the Prefect's superior officer, the Legate of Iberia, will be coming to check up on his progress, he comes up with a plan. He'll make a deal with the natives to make it look like he's been kidnapped and murdered. Dressed as conquistadors, the natives won't say a word and the Prefect's second in command will say that he's been killed. To the Prefect's surprise, this actually worked and the Legate was fooled. Upon the Legate returning back to Iberia, the now defunct Prefect conquistador has made arrangements with the natives in exchange for food and supplies to fool the Legate each time he visits.This rousing march is a great opener or closer for any concert. Perfect for high school, college, or municiple/adult continuing level community band! The music here perfectly encapsulates this swashbuckling, yet haphazardous story!
$24.99
The Girl I Mean To Be
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String Quintet: 2 violins, viola, cello, bass
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EASY
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The Secret Garden Ensemble
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Alberto Caeiro
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The Girl I Mean To Be
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Alberto Caeiro
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SheetMusicPlus
String Quintet Cello,Double Bass,Viola,Violin - Level 2 - Digital Download SKU: A0.1282836 By The Secret Garden Ensemble. By Lucy Simon and Marsha Norman...
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String Quintet Cello,Double Bass,Viola,Violin - Level 2 - Digital Download SKU: A0.1282836 By The Secret Garden Ensemble. By Lucy Simon and Marsha Norman. Arranged by Alberto Caeiro. Broadway,Musical/Show,New Age,Opera,Singer/Songwriter. 14 pages. Alberto Caeiro #874079. Published by Alberto Caeiro (A0.1282836). This arrangement is made for String Quintet, in the original key containing the original form of the musical. It's an easy arrangement that can be performed in different events and performances, having a solo voice. With 2 violins, 1 viola and 1 cello, the arrangement would be too light so, adding the double bass, the arrangement becomes more interesting with more color.The Secret Garden is a musical based on the 1911 novel of the same name by Frances Hodgson Burnett. The musical's script and lyrics are by Marsha Norman, with music by Lucy Simon. It premiered on Broadway in 1991 and ran for 709 performances. The story is set in the early years of the 20th century.The Girl I mean to be is a powerful and inspirational song about self-discovery and empowerment. The song is a ballad about a young woman struggling to find her place in the world. She constantly feels judged and compared to others, and she's tired of feeling like she's not good enough.However, the song's protagonist eventually realizes that she is the only one who can define who she is. She sings, I'm the only one who knows what I want to be. She realizes that she doesn't need to change herself to please others. She is perfect the way she is.The song ends with the protagonist declaring that she is going to be the girl she wants to be. She sings, I'm gonna be the girl I wanna be, no matter what they say. She is determined to be herself, no matter what others think.
$19.99
I Can See (Andorra, the Witch of Andor, King Saul & Samuel) from "The Kings"
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Alto voice, Piano
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INTERMEDIATE
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McCorkle, Dennis F
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I Can See
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DF McCorkle Music and eBook Publications
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SheetMusicPlus
Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.784838 Composed by McCorkle, Dennis F. Broadway,Christian,Jewish,Musical/Show,Rock. 28 pages. ...
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Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.784838 Composed by McCorkle, Dennis F. Broadway,Christian,Jewish,Musical/Show,Rock. 28 pages. DF McCorkle Music and eBook Publications #11767. Published by DF McCorkle Music and eBook Publications (A0.784838). CUT FROM SHOW: I Can See. The King, by Dennis McCorkle, is a contemporary pop-rock musical of the first two kings of Israel, Saul ben Kish and David ben Jesse and explores the contrasting lives and outcome of each man’s choices in life. [1 Samuel 28:7-18 - Then said Saul unto his servants, Seek me a woman that hath a familiar spirit, that I may go to her, and inquire of her. And his servants said to him, Behold, there is a woman that hath a familiar spirit at Endor. And Saul disguised himself, and put on other raiment, and he went, and two men with him, and they came to the woman by night: and he said, I pray thee, divine unto me by the familiar spirit, and bring me him up, whom I shall name unto thee. And the woman said unto him, Behold, thou knowest what Saul hath done, how he hath cut off those that have familiar spirits, and the wizards, out of the land: wherefore then layest thou a snare for my life, to cause me to die? And Saul sware to her by Yahweh, saying, As Yahweh liveth, there shall no punishment happen to thee for this thing. Then said the woman, Whom shall I bring up unto thee? And he said, Bring me up Samuel. And when the woman saw Samuel, she cried with a loud voice: and the woman spake to Saul, saying, Why hast thou deceived me? for thou art Saul. And the king said unto her, Be not afraid: for what sawest thou? And the woman said unto Saul, I saw gods ascending out of the earth. And he said unto her, What form is he of? And she said, An old man cometh up; and he is covered with a mantle. And Saul perceived that it was Samuel, and he stooped with his face to the ground, and bowed himself. And Samuel said to Saul, Why hast thou disquieted me, to bring me up? And Saul answered, I am sore distressed; for the Philistines make war against me, and God is departed from me, and answereth me no more, neither by prophets, nor by dreams: therefore I have called thee, that thou mayest make known unto me what I shall do. Then said Samuel, Wherefore then dost thou ask of me, seeing Yahweh is departed from thee, and is become thine enemy? And Yahweh hath done to him, as he spake by me: for Yahweh hath rent the kingdom out of thine hand, and given it to thy neighbor, even to David: Because thou obeyedst not the voice of Yahweh, nor executedst his fierce wrath upon Amalek, therefore hath Yahweh done this thing unto thee this day. Also included with your order is our new 20 page catalog of over 150 titles at no additional charge.
$2.99
I Can Still Sing, vocal solo
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New Age
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Contemporary
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Kevin G
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I Can Still Sing, vocal solo
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Kevin G. Pace
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SheetMusicPlus
Medium Voice,Vocal Solo - Level 4 - Digital Download SKU: A0.1077330 Composed by Kevin G. Pace (ASCAP), Sherri D. Johnson. 20th Century,Contemporary,New ...
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Medium Voice,Vocal Solo - Level 4 - Digital Download SKU: A0.1077330 Composed by Kevin G. Pace (ASCAP), Sherri D. Johnson. 20th Century,Contemporary,New Age. 8 pages. Kevin G. Pace #681507. Published by Kevin G. Pace (A0.1077330). A beautiful vocal solo with music by Kevin G. Pace and text by Sherri D. Johnson. Text: When I think of my childhood and all it did bring, (5, p.u. , 6-9) what I remember most is that you always would sing. (9-12) Through the good and the bad, the happy and sad, (13-14) no matter what happened you always did sing. (14-20) There were times I know it was hard for you. (21 pu, 22- There were many things that you had to go through. (23 pu, 24-25 I’m sure there were times when your strength was all gone, (25 pu, 26 and you felt it impossible for you to go on. (27 pu, to 29) Yet somehow within you there was always a song (30 pu, 31- ) that renewed your faith and helped you be strong. (to 37) I learned that no matter what life might bring, (38- it would all be okay if we could still sing. (to 45) I think of the journey you have valiantly fought ( and all of the lessons that to me you taught. You taught me to have faith in my Savior above; you have shown me how to truly love. (to 54) Chorus: You have blessed so many lives; you have touched our hearts. Many tears will be shed when from us you depart. Now your journey soon must come to an end, oh how I will miss you, my dear mother, and friend. (to 66) Yet my life will go on, more challenges to bring, but I’ll be okay, because you taught me to sing. Oh what joy you will feel as you look on his face, and kneel at his feet in that glorious place. (to 79) As you bask in his light he will say to thee, (82-85) “My Daughter, your life has been pleasing to me. (86-89) You kept the faith, you fought a good fight, now take my hand and enter into the light. (to 98) Then joining his angels your voice will ring, as to him your praises you bring. For in that great place, throughout eternity, with Heavenly choirs you will still sing.
$3.99
The Girl I Mean To Be
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Orchestra
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EASY
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The Secret Garden Ensemble
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Alberto Caeiro
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The Girl I Mean To Be
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Alberto Caeiro
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SheetMusicPlus
Full Orchestra - Level 2 - Digital Download SKU: A0.1282824 By The Secret Garden Ensemble. By Lucy Simon and Marsha Norman. Arranged by Alberto Caeiro. B...
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Full Orchestra - Level 2 - Digital Download SKU: A0.1282824 By The Secret Garden Ensemble. By Lucy Simon and Marsha Norman. Arranged by Alberto Caeiro. Broadway,Musical/Show,New Age,Opera,Singer/Songwriter. Score and Parts. 31 pages. Alberto Caeiro #874067. Published by Alberto Caeiro (A0.1282824). This arrangement for orchestra and voice, is made for young and youth orchestra, with a simple and homogeneous writing.The orchestral formation contains:1 Flute1 clarinet1 Oboe1 Basson1 Trumpet1 Horn2 Violins1 Viola1 Cello1 Double Bass4 percussion instruments1 Voice SoloThe entire arrangement is mindful of the range of the instruments, making it not too difficult to play and allowing for the exploration of the timbres of the woodwind, brass instruments and the string Instruments.The arrangement has a different introduction and ending than the original, but it does not change the tonality or form of the original piece. This makes it more interesting by incorporating percussion in both parts.The Secret Garden is a musical based on the 1911 novel of the same name by Frances Hodgson Burnett. The musical's script and lyrics are by Marsha Norman, with music by Lucy Simon. It premiered on Broadway in 1991 and ran for 709 performances. The story is set in the early years of the 20th century.The Girl I mean to be is a powerful and inspirational song about self-discovery and empowerment. The song is a ballad about a young woman struggling to find her place in the world. She constantly feels judged and compared to others, and she's tired of feeling like she's not good enough.However, the song's protagonist eventually realizes that she is the only one who can define who she is. She sings, I'm the only one who knows what I want to be. She realizes that she doesn't need to change herself to please others. She is perfect the way she is.The song ends with the protagonist declaring that she is going to be the girl she wants to be. She sings, I'm gonna be the girl I wanna be, no matter what they say. She is determined to be herself, no matter what others think.
$59.99
The Girl I Mean To Be
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Concert band
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EASY
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The Secret Garden Ensemble
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Alberto Caeiro
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The Girl I Mean To Be
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Alberto Caeiro
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SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.1282254 By The Secret Garden Ensemble. By Lucy Simon and Marsha Norman. Arranged by Alberto Caeiro. Bro...
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Concert Band - Level 2 - Digital Download SKU: A0.1282254 By The Secret Garden Ensemble. By Lucy Simon and Marsha Norman. Arranged by Alberto Caeiro. Broadway,Musical/Show,New Age. Score and Parts. 34 pages. Alberto Caeiro #873559. Published by Alberto Caeiro (A0.1282254). This arrangement for orchestra and voice, is made for young and youth orchestra, with a simple and homogeneous writing.The orchestral formation contains:2 flutes2 oboes3 clarinets1 bass clarinet2 Saxophones3 trumpets2 horns2 trombones1 euphonium1 tuba4 percussion instruments1 Solo VoiceThe entire arrangement is mindful of the range of the instruments, making it not too difficult to play and allowing for the exploration of the timbres of the woodwind and brass instruments.The arrangement has a different introduction and ending than the original, but it does not change the tonality or form of the original piece. This makes it more interesting by incorporating percussion in both parts.The Secret Garden is a musical based on the 1911 novel of the same name by Frances Hodgson Burnett. The musical's script and lyrics are by Marsha Norman, with music by Lucy Simon. It premiered on Broadway in 1991 and ran for 709 performances. The story is set in the early years of the 20th century.The Girl I mean to be is a powerful and inspirational song about self-discovery and empowerment. The song is a ballad about a young woman struggling to find her place in the world. She constantly feels judged and compared to others, and she's tired of feeling like she's not good enough.However, the song's protagonist eventually realizes that she is the only one who can define who she is. She sings, I'm the only one who knows what I want to be. She realizes that she doesn't need to change herself to please others. She is perfect the way she is.The song ends with the protagonist declaring that she is going to be the girl she wants to be. She sings, I'm gonna be the girl I wanna be, no matter what they say. She is determined to be herself, no matter what others think.
$79.99
Say You Love Me
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Rock
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Fleetwood Mac
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Derek Hasted
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Say You Love Me
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Derek Hasted
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SheetMusicPlus
Guitar Ensemble Guitar - Level 4 - Digital Download SKU: A0.797762 By Fleetwood Mac. By Christine Mcvie. Arranged by Derek Hasted. Pop,Rock. Score and pa...
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Guitar Ensemble Guitar - Level 4 - Digital Download SKU: A0.797762 By Fleetwood Mac. By Christine Mcvie. Arranged by Derek Hasted. Pop,Rock. Score and parts. 31 pages. Derek Hasted #5205403. Published by Derek Hasted (A0.797762). SAY YOU LOVE ME (Fleetwood Mac) - FOUR GUITARS/LARGE ENSEMBLEFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes This is a real crowd-pleaser that will suit any informal concert.My arrangement of 'Say You Love Me' is faithful to the Fleetwood Mac original in both the key and the number of sections that it contains. The piece closes with a final chord instead of a long fade out, but it's a big piece with a big sound and it runs for nearly four minutes at the recommended tempo.There are two bass parts in this edition - one in treble clef and one in bass clef...The arrangement works well with 4 guitars, but a larger ensemble will find it easy to get much more drive and power! In a large ensemble, the syncopated rhythms need to be tight and accurate if they are to provide a compelling rhythmic support to the tune.It’s worth mentioning that the name Fleetwood Mac derives from the group’s founder, Mick Fleetwood and John McVie (Mac), their bass player. Why tell you that? Because the Guitar 4 part is a close representation to the original bass line played by John McVie, and what a fantastic bass line it is! The two bass parts (treble clef and bass clef) are identical and between them, they suit guitar, contrabass guitar, electric bass or double bass. For a fuller sound in a large ensemble, one can place a guitar or two alongside a bass instrument.The standard across the parts varies from intermediate to advanced intermediate, so it's great for an ensemble of mixed abilities.I hope you enjoy this piece!
$4.99
Requiem
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Chamber Orchestra
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil I...
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
Thank U, Next
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Piano, Voice
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EASY
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Pop music
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Ariana Grande
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Mario Stallbaumer
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Thank U, Next
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Mario Stallbaumer
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SheetMusicPlus
Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.510526 By Ariana Grande. By Ariana Grande, Charles Anderson, Kimberly Krysiuk, Michael Foster, Tay...
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Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.510526 By Ariana Grande. By Ariana Grande, Charles Anderson, Kimberly Krysiuk, Michael Foster, Tayla Parx, Taylor Parks, Tommy Brown, and Victoria McCants. Arranged by Mario Stallbaumer. Pop. Score. 5 pages. Mario Stallbaumer #4301505. Published by Mario Stallbaumer (A0.510526). Here’s how to play “thank u, next†by Ariana Grande on piano!With this piano sheet music, you can play “thank u, next†on piano - you can use it as an instrumental arrangement, but also accompany singers, or sing along yourself.This “thank u, next†piano version is transposed one half step from the original key of Bb minor to A minor, so it’s much easier to play. These piano sheets come with all parts of the song, full lyrics included. It’s not too hard to play and sounds fantastic!However, there’s a more challenging arrangement of the song in the original key available, you can get it here: https://www.sheetmusicplus.com/title/21155619Ariana Grande certainly knows what it's like if one's personal life is making headlines. In November 2018, she released thank u, next, a surprisingly positive song about her past relationships and breakups (including Mac Miller, Pete Davidson and Big Sean), in which she comes to the conclusion that she learned from all of them!“thank u, next†serves as the lead single from Ariana Grande’s fifth studio album. Here are the song’s full lyrics:“Thought I'd end up with SeanBut he wasn't a matchWrote some songs about RickyNow I listen and laughEven almost got marriedAnd for Pete, I'm so thankfulWish I could say, Thank you to Malcolm'Cause he was an angelOne taught me loveOne taught me patienceAnd one taught me painNow, I'm so amazingI've loved and I've lostBut that's not what I seeSo, look what I gotLook what you taught meAnd for that, I sayThank you, next (next)Thank you, next (next)Thank you, nextI'm so fuckin' grateful for my exThank you, next (next)Thank you, next (next)Thank you, next (next)I'm so fuckin'Spend more time with my friendsI ain't worried 'bout nothin'Plus, I met someone elseWe havin' better discussionsI know they say I move on too fastBut this one gon' last'Cause her name is AriAnd I'm so good with that (so good with that)She taught me love (love)She taught me patience (patience)How she handles pain (pain)That shit's amazing (yeah, she's amazing)I've loved and I've lost (yeah, yeah)But that's not what I see (yeah, yeah)'Cause look what I've found (yeah, yeah)Ain't no need for searching, and for that, I sayThank you, next (thank you, next)Thank you, next (thank you, next)Thank you, next (thank you)I'm so fuckin' grateful for my exThank you, next (thank you, next)Thank you, next (said thank you, next)Thank you, next (next)I'm so fuckin' grateful for my exThank you, nextThank you, nextThank you, nextI'm so fuckingOne day I'll walk down the aisleHolding hands with my mamaI'll be thanking my dad'Cause she grew from the dramaOnly wanna do it once, real badGon' make that shit lastGod forbid something happensLeast this song is a smash (song is a smash)I've got so much love (love)Got so much patience (patience)I've learned from the pain (pain)I turned out amazing (turned out amazing)I've loved and I've lost (yeah, yeah)But that's not what I see (yeah, yeah)'Cause look what I've found (yeah, yeah)Ain't no need for searchingAnd for that, I'll sayThank you, next (thank you, next)Thank you, next (thank you, next)Thank you, nextI'm so fuckin' grateful for my exThank you, next (thank you, next)Thank you, next (said thank you, next)Thank you, next (next)I'm.
$4.99
O Be Wise
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Choral Unison
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Shorten Studio Utah
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O Be Wise
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Shorten Studio Utah
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SheetMusicPlus
Choral Choir (Unison) - Digital Download SKU: A0.980873 Composed by Shorten Studio Utah. Children,Christian,Sacred. Octavo. 1 pages. Shorten Studio Utah ...
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Choral Choir (Unison) - Digital Download SKU: A0.980873 Composed by Shorten Studio Utah. Children,Christian,Sacred. Octavo. 1 pages. Shorten Studio Utah #4767621. Published by Shorten Studio Utah (A0.980873). O be wise, what can I say more? O be clean, what can I say more? A children's melody with piano accompaniment.
$1.99
What More Can I Say
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Easy Piano
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EASY
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William Finn
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What More Can I Say
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
By William Finn. For Easy Piano. Broadway and Broadway. 6 pages. Published by Alfred Music - Digital Sheet Music ...
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By William Finn. For Easy Piano. Broadway and Broadway. 6 pages. Published by Alfred Music - Digital Sheet Music
$3.99
On That Cross (Piano part ONLY)
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Sacred music
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Stuart Richard Brown
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Stuart Richard Brown
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On That Cross
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Stuart Brown Music
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SheetMusicPlus
Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182872 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Chri...
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Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182872 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Christian,Easter,Praise & Worship,Religious,Sacred. 1 pages. Stuart Brown Music #782621. Published by Stuart Brown Music (A0.1182872). The accompanying score and a choral bundle are also available from this website.The composer writes: 'On That Cross' is a powerful reflection on the crucifixion of Jesus Christ. I came up with the lyrics at around 3am in the morning of 3rd December 2014 sitting at a desk in room 703 of the De Syloia Hotel in Hanoi, Vietnam. Often I find that my periods of working abroad give me the space to think of things in new ways. This song is a good example of that.One look at the first page of the score of 'On That Cross' is all you need to realize that this is not a case of a choir singing with a piano accompaniment. I put the piano part above the choir in order to dispel that misconception. So if it's not that, what is it? I wanted to demonstrate that it is possible to approach a subject from two completely different points of view, without either point of view being compromised by the other, and yet the result can nevertheless be a beautiful synergy. That is what the pianist and the choir are doing here. Each is meditating upon the cross of Christ, but from two totally unrelated points of view and yet somehow combining in a way that is almost hypnotically beautifully. There is little obvious relationship between the choir's and the piano's music; and yet each is reconciled to the other ... and there's a very good reason why I wanted the music to speak of such reconciliation.In late 2014 people in Iraq were being beheaded, crucified and generally killed in the most brutal and sadistic manner possible. Their only ‘crime’ was to dare to call themselves Christians. You can say what you like but in my book nobody has the right to tell anybody else what they should believe, much less murder them on religious grounds. The thing that incensed me almost to the point of incandescence was that the perpetrators of this unspeakable evil dared to justify their actions by claiming that they were acting on behalf of their god. So in such frame of mind I started to write the lyrics to 'On That Cross'.The first words that came into my mind were “Oh men who dare to call on gods to justify your hatred – of this be sure …†and I wanted to follow that with threats of eternal damnation, torture in hellfire and so on. Except that the words that flowed out of my fingers onto my computer screen were not like that at all. “Of this be sure – I love you still, my cross your salvation from all the sin of man.â€It doesn’t get much more powerful than that. I may be incapable of loving the people of ISIS, ISIL, DAESH or whatever one calls them, but my God isn’t. He created them, he sent his Son to die for them … and he is even now ready to save them, as he is you and me. That’s grace.A small group of us sang this at a Good Friday united service in 2016. We sang it unannounced, at the end of the service, when one would have expected people to start getting up from their seats and leaving the church. Nobody did. Not one single person moved while we sang..
$1.99
On That Cross
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Choral SSATTB
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EASY
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Sacred music
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Stuart Richard Brown
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Stuart Richard Brown
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On That Cross
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Stuart Brown Music
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SheetMusicPlus
Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182868 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Chri...
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Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182868 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Christian,Easter,Praise and Worship,Religious,Sacred. 12 pages. Stuart Brown Music #782616. Published by Stuart Brown Music (A0.1182868). Re-published specially for Easter 2023, this is a profoundly beautiful piece for 6-part choir and piano. The composer writes:'On That Cross' is a powerful reflection on the crucifixion of Jesus Christ. I came up with the lyrics at around 3am in the morning of 3rd December 2014 sitting at a desk in room 703 of the De Syloia Hotel in Hanoi, Vietnam. Often I find that my periods of working abroad give me the space to think of things in new ways. This song is a good example of that. One look at the first page of the score of 'On That Cross' is all you need to realize that this is not a case of a choir singing with a piano accompaniment. I put the piano part above the choir in order to dispel that misconception. So if it's not that, what is it? I wanted to demonstrate that it is possible to approach a subject from two completely different points of view, without either point of view being compromised by the other, and yet the result can nevertheless be a beautiful synergy. That is what the pianist and the choir are doing here. Each is meditating upon the cross of Christ, but from two totally unrelated points of view and yet somehow combining in a way that is almost hypnotically beautifully. There is little obvious relationship between the choir's and the piano's music; and yet each is reconciled to the other ... and there's a very good reason why I wanted the music to speak of such reconciliation.In late 2014 people in Iraq were being beheaded, crucified and generally killed in the most brutal and sadistic manner possible. Their only â??crimeâ?? was to dare to call themselves Christians. You can say what you like but in my book nobody has the right to tell anybody else what they should believe, much less murder them on religious grounds. The thing that incensed me almost to the point of incandescence was that the perpetrators of this unspeakable evil dared to justify their actions by claiming that they were acting on behalf of their god. So in such frame of mind I started to write the lyrics to 'On That Cross'.The first words that came into my mind were â??Oh men who dare to call on gods to justify your hatred â?? of this be sure â?¦â? and I wanted to follow that with threats of eternal damnation, torture in hellfire and so on. Except that the words that flowed out of my fingers onto my computer screen were not like that at all. â??Of this be sure â?? I love you still, my cross your salvation from all the sin of man.â?It doesnâ??t get much more powerful than that. I may be incapable of loving the people of ISIS, ISIL, DAESH or whatever one calls them, but my God isnâ??t. He created them, he sent his Son to die for them â?¦ and he is even now ready to save them, as he is you and me. Thatâ??s grace.A small group of us sang this at a Good Friday united service in 2016. We sang it unannounced, at the end of the service, when one would have expected people to start getting up from their seats and leaving the church. Nobody did. Not one single person moved while we sang..
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