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You've selected:
What We Used To Know
Sheetmusic to print
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What We Used To Know
Concert band
Concert Band - Level 4 - Digital Download SKU: A0.1153086 Composed by Javien Keenan…
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Concert Band - Level 4 - Digital Download SKU: A0.1153086 Composed by Javien Keenan. Classical. Score and parts. 28 pages. Javien Keenan #753331. Published by Javien Keenan (A0.1153086). I've Always had a soft spot for slow pieces. A brighter version of one of my other pieces The Corruption, This shows a brighter side of life and the fondness of life or the things we used to know. I'm tired of hearing people say slow pieces are easy because there slow or there boring because they don't have fast notes. With this piece I hope to change people opinion on slower pieces. What We Used To Know was inspired for my reason I love slow pieces and I hope everyone finds a reason to adore them like I have.
$25.99
23.28 €
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Concert band
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Javien Keenan
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What We Used To Know
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Javien Keenan
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SheetMusicPlus
An Invitation To Snow
Choral SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1044112 Composed by Michae…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1044112 Composed by Michael Gordon Bennett. Arranged by Michael Gordon Bennett. A Cappella,Christmas,Contemporary,Holiday,Jazz. Octavo. 8 pages. MGB Choral Music #648840. Published by MGB Choral Music (A0.1044112). What's winter without snow? That long held wish for a white Christmas is celebrated in this fun a carpella piece for SATB chorus. This song evokes childhood memories of fun in the snow and the Christmas that we used to know. Jazz, swing and hints of barbershop quartet make for a lively performance that singers and your audience will enjoy. Bring on snow! Makes a great winter themed/Christmas/Holiday themed concert opener.
$2.29
2.05 €
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Choral SATB
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Michael Gordon Bennett
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An Invitation To Snow
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MGB Choral Music
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SheetMusicPlus
What The World Needs Now Is Love
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.1249719 By Jackie DeShannon. By Bur…
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Piano Solo - Level 3 - Digital Download SKU: A0.1249719 By Jackie DeShannon. By Burt Bacharach and Hal David. Arranged by Timothy Stapay. Broadway,Film/TV,Musical/Show,Pop,Singer/Songwriter,Standards. Score. 4 pages. Timothy Stapay #844110. Published by Timothy Stapay (A0.1249719). What The World Needs Now Is Love is written in a relaxed waltz style.What the World Needs Now Is Love is a 1965 popular song with lyrics by Hal David and music composed by Burt Bacharach. First recorded and made popular by Jackie DeShannon, it was released on April 15, 1965, on the Imperial label after a release on sister label Liberty records the previous month was canceled. It peaked at number seven on the US Hot 100 in July of that year. In Canada, the song reached number one. The song's success caught the two songwriters completely by surprise, since they were very aware of the controversy and disagreements among Americans about the Vietnam War, which was the subtext for David's lyrics. Bacharach has continuously used the song as the intro and finale for most of his live concert appearances well into the 2000s. Lyrics:What the world needs now is love, sweet loveIt's the only thing that there's just too little ofWhat the world needs now is love, sweet love,No not just for some but for everyone.Lord, we don't need another mountain,There are mountains and hillsides enough to climbThere are oceans and rivers enough to cross,Enough to last till the end of time.What the world needs now is love, sweet loveIt's the only thing that there's just too little ofWhat the world needs now is love, sweet love,No, not just for some but for everyone.Lord, we don't need another meadowThere are cornfields and wheat fields enough to growThere are sunbeams and moonbeams enough to shineOh listen, lord, if you want to know.What the world needs now is love, sweet loveIt's the only thing that there's just too little ofWhat the world needs now is love, sweet love,No, not just for some but for everyone.No, not just for some, oh, but just for everyone.
$5.99
5.36 €
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Piano solo
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Jackie DeShannon
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What The World Needs Now Is Love
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Timothy Stapay
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SheetMusicPlus
How Am I To Know
Piano, Voice
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1477702 By Tommy Dorsey & Hi…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1477702 By Tommy Dorsey & His Orchestra. By Dorothy Parker and Jack King. Arranged by Dave Gingras and John E. Dosher. Broadway,Film/TV,Jazz,Musical/Show. Score. 2 pages. DAVID LEE GINGRAS #1055083. Published by DAVID LEE GINGRAS (A0.1477702). Aside from the fact that How Am I to Know? was once recored by Frank Sinatra recorded alongside Tommy Dorsey and his Orchestra, I wasn't able to find a lot of info about the history of this tune from 1929. That being said, this version features a root-based chord blocking that John and I have used in a number of our arrangements and we added a few left-hand fills for rhythm. We hope you like what we've done with this grand old tune!
$4.99
4.47 €
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Piano, Voice
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Tommy Dorsey & His Orchestra
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How Am I To Know
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DAVID LEE GINGRAS
#
SheetMusicPlus
Getting To Know You
Piano, Voice
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1191013 Composed by Oscar Ha…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1191013 Composed by Oscar Hammerstein and Richard Rodgers. Arranged by Dave Gingras and John E. Dosher. Broadway,Film/TV,Jazz,Musical/Show. Score. 2 pages. DAVID LEE GINGRAS #790542. Published by DAVID LEE GINGRAS (A0.1191013). Getting to Know You is a show tune from the 1951 Rodgers and Hammerstein musical The King and I. It was first sung by Gertrude Lawrence in the original Broadway production and later by Marni Nixon who dubbed for Deborah Kerr in the 1956 film adaptation. This version features a root-based chord blocking that John and I have used in a number of our arrangements. We also added some pretty cool left-hand fills for your listening (playing?) pleasure - we hope you like what we've done to make this arrangement unique!
$4.99
4.47 €
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Piano, Voice
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Oscar Hammerstein and Richard Rodgers
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Getting To Know You
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DAVID LEE GINGRAS
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SheetMusicPlus
Turn To God
Choral SATB
Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1350749 By Beth S. …
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Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1350749 By Beth S. Simmons and Mary S. Walsh. By Mary S. Walsh. Advent,Christian,Christmas,Contemporary,Holiday. 11 pages. Mary Walsh #935574. Published by Mary Walsh (A0.1350749). Turn To God Music by Mary S. Walsh Text by Beth S. Simmons There are often times in our lives when we feel hopeless, confused, or discouraged. We feel so overwhelmed that it's hard to know what choices or decisions to make. At these moments we must remember to give our cares to the Lord. Turn To God is an original Christmas anthem from the Cantata, Prophecy: A Musical and Dramatic Telling of The Birth of Christ. This anthem can be performed by itself for Christmas services or concerts. Turn to God features a soprano solo from the viewpoint of Mary and a baritone solo from the viewpoint of Joseph. With introspective solos and accessible choir parts, Turn to God is a great concert opener.
$2.10
1.88 €
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Choral SATB
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Beth S
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Turn To God
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Mary Walsh
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SheetMusicPlus
Chording to the Dance Masters Full Score Version with chords Book 1 - Score Only
Level 3 - Digital Download SKU: A0.1133711 By Various. By Anonymous, Giorgio Mainer…
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Level 3 - Digital Download SKU: A0.1133711 By Various. By Anonymous, Giorgio Mainerio, Michael Praetorius, Pierre Attaignant, Pierre Certon, Pierre Phalese, and Tielman Susato. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733808. Published by Wold Meridian (A0.1133711). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances. You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes. Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on. Working with this publication For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.
$12.00
10.75 €
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Various
#
Chording to the Dance Masters Full Score Version with chords Book 1 - Score Only
#
Wold Meridian
#
SheetMusicPlus
Chording to the Dance Masters Full Score Version with chords Book 2 - Score Only
Level 3 - Digital Download SKU: A0.1133721 By Various. By Anonymous, Claude Gervais…
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Level 3 - Digital Download SKU: A0.1133721 By Various. By Anonymous, Claude Gervaise, Claudin de Sermisy, Erasmus Widmann, Giorgio Mainerio, Henry VIII, Juan Del Encina, Michael Praetorius, Pierre Attaignant, Pierre Phalese, Thoinot Arbeau, Tielman Susato, and William Cornysh. Arranged by Alastair Lodge. Early Music,Folk,Historic,Medieval,Renaissance. 50 pages. Wold Meridian #733832. Published by Wold Meridian (A0.1133721). This is a companion to my earlier volume Chording to the Dance Masters which presented 44 of my favourite Renaissance Dance band tunes and arranged them as a single melody line with chords derived from the original harmony lines. In this volume I have reunited 22 of the pieces with the lower parts in the score, so that with more collaborators, the fullness of the original arrangement can be heard. The chords are still present, so if the ensemble is short handed, and lines are missing, the arrangements will still work. What is more, by contrasting the melody and chords with the full scoring, it should be possible to work some light and shade into performances.  You can hear all the pieces and their chords on YouTube together with contemporary art and historical background material:https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNSAs a help to those less confident in playing harmony lines, I have provided links to playlists of videos online for each part of each piece. You will hear the selected line on its own with chords and percussion, with the melody line added on repeats. The final repeat includes the other harmony lines, but the featured line is slightly louder in the mix. The performance starts with a percussion beat introduction to set the tempo.Who were the Publishers and the Dance Masters? What did they do? Sometime around the 1500s, the popularity of dance music exploded in Europe. Dance Masters were collecting chansons and dance tunes from courts and rural parts and were teaching these to new audiences, spreading their arrangements and reflecting the performance styles of the areas from which they had collected the tunes. Publishers were able to take these tunes that were becoming known across the regions and nations and spread them even more widely, thanks to technological innovations in music printing which made it quicker and therefore cheaper to produce collections of these dances in four or more parts. These publishers were often highly accomplished composers in their own right, who were both able to provide distinctive harmony lines and compose new tunes in the style of their sources, feeding the courts with enduring tunes. Composers and printers of this time would often use note values that are double the length of those we would be used to seeing today, and so to make this version more readable, breves have become semibreves or whole notes, semibreves have become minims or half notes and so on. Working with this publication For those just starting out in Early Music, the volume is an ideal introduction, since the ensemble can build from a soloist with accompaniment with the chords alone, and parts can be added in as additional musicians become available. Instrumentation for these pieces was not specified in the original prints. The range of each part is quite limited, and though the harmonies may seem strange at times, key signatures are kind to the less experienced musician. If enthusiasm takes hold, then reproductions of early music instruments are sold by some very talented makers, as well as coming up on auction sites. Otherwise, it is possible to put together a fairly convincing ensemble with recorders, violins, a cello and mandolins, bouzoukis, flutes or guitars and gradually introduce the authentic instruments as they become available.
$12.00
10.75 €
#
Various
#
Chording to the Dance Masters Full Score Version with chords Book 2 - Score Only
#
Wold Meridian
#
SheetMusicPlus
I Can't Begin To Tell You
Piano, Voice
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1297766 By Bing Crosby. By J…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1297766 By Bing Crosby. By James Monaco and Mack Gordon. Arranged by Dave Gingras and John E. Dosher. Broadway,Film/TV,Jazz,Musical/Show. Score. 3 pages. DAVID LEE GINGRAS #887741. Published by DAVID LEE GINGRAS (A0.1297766). I Can't Begin to Tell You is a popular song with music written by James V. Monaco and lyrics by Mack Gordon - it was published in 1945. The song was introduced by John Payne and reprised by Betty Grable in the film The Dolly Sisters. I Can't Begin to Tell You was nominated for the Academy Award for Best Original Song in 1946, but lost out to On the Atchison, Topeka and the Santa Fe. A version by Bing Crosby was the best-known recording, reaching its peak of popularity in 1945. This version was developed from the original 1945 sheet music and features a root-based chord blocking that John and I have used in a number of our arrangements - we hope you like what we've done with this grand old tune!
$4.99
4.47 €
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Piano, Voice
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Bing Crosby
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I Can't Begin To Tell You
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DAVID LEE GINGRAS
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SheetMusicPlus
Whatever We Feel
Rhythm Section SSA Chorus,Voice - Level 4 - Digital Download SKU: A0.1488645 By Sam…
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Rhythm Section SSA Chorus,Voice - Level 4 - Digital Download SKU: A0.1488645 By Sammy Rae & The Friends. By Jemirah Kirby and Samantha Bowers. Arranged by Kerry Marsh. Funk,Pop,Ska. Vocal Jazz Ensemble. 48 pages. Kerry Marsh #1065493. Published by Kerry Marsh (A0.1488645). This arrangement, sold at SheetMusicPlus.com and SheetMusicDirect.com at a lower price than the standard flat-fee range for vocal jazz ensemble arrangements ($75), does NOT come with a demo recording or any rehearsal audio aids. Visit KerryMarsh.com and purchase the “All Tracks Pack (With SkyTracks Mixer)“ package and receive access to: 1. Arrangement Demo, 2. SkyTracks Mixer access, 3. Vocal Part Tracks, 4. Minus-One Tracks, 5. Rhythm Track, 6. Recording Stems (for those who wish to use their own Digital Audio Workstation).This arrangement captures the joyous energy and upbeat spirit of the original track. The treble ensemble parts are notated in a combination of one, two, and three parts, sung homophonically, and splitting the lyric responsibilities with an energetic soloist. The use of triadic harmony makes the group parts accessible and helps the choir sing in tune, ensuring a vibrant performance.Auxiliary percussion parts are included in the drum set part, and, if utilized, the added percussion can bring even more of a party atmosphere to your performance. A ukulele keyboard patch is used on the recording, and you can certainly feature a ukulele player if you have one, using the chord changes and rhythms in the fully-notated piano part. To further elevate the energy of the arrangement, two optional saxophone parts are included, adding an exciting layer to your ensemble's performance.With its infectious groove and dynamic interplay between soloist and ensemble, this arrangement will have audiences feeling the joy and excitement that Sammy Rae & The Friends are known for.
$49.99
44.77 €
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Sammy Rae & The Friends
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The Friends are known for
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Whatever We Feel
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Kerry Marsh
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SheetMusicPlus
On A Slow Boat To China
Piano, Voice
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1316213 By Al Hendrickson. B…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1316213 By Al Hendrickson. By Frank Loesser. Arranged by Dave Gingras and John E. Dosher. Broadway,Film/TV,Jazz,Musical/Show. Score. 2 pages. DAVID LEE GINGRAS #904951. Published by DAVID LEE GINGRAS (A0.1316213). On A Slow Boat to China is a popular song by Frank Loesser published in 1948. The song is a well-known pop standard, recorded by many artists, including a duet between Rosemary Clooney and Bing Crosby for their album Fancy Meeting You Here (1958), Ella Fitzgerald, Joni James, Frank Sinatra, Dean Martin, Jimmy Buffett, Fats Domino and Liza Minneli. This version features a root-based chord blocking that John and I have used in a number of our arrangements. We hope you like what we've done with this grand old tune!
$4.99
4.47 €
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Piano, Voice
#
Al Hendrickson
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On A Slow Boat To China
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DAVID LEE GINGRAS
#
SheetMusicPlus
How Can We Sinners Know
Piano, Vocal and Guitar
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1256753 Composed by W…
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.1256753 Composed by Words: Charles Wesley / Music: Louis Bourgeois. Arranged by Lyndell Leatherman. Christian,Religious,Sacred. Score. 2 pages. Leatherman Music Services #850125. Published by Leatherman Music Services (A0.1256753). Welcome to this entry in the Leatherman Library of Hymnody (LLOH).Features of the series include:•Intermediate 2-page arrangements suitable as either piano or organ solos.•Chord symbols included as a service to classical guitarists.•Lyrics included (and occasionally updated) to facilitate congregational singing or vocal solo.•Hymn background information included for personal edification or use as printed program notes.•Optional repeats which allow you to fit into the allotted time available in a service.•An introduction and/or tag in many cases, often incorporating a classical excerpt or related hymn fragment.If you like this format, you may be interested in a published volume of 75 similar arrangements: BEST-LOVED HYMNS I  (© FJH Music, distributed by Alfred Music).************It has long been my passion and privilege to create customized arrangements for the churches and schools with whom I have been associated. Many were published; some were not. During the 2020 slowdown caused by Covid-19, I finally had the time to start posting the unpublished resources on Sheet Music Plus. If you are curious about what else is available, please navigate to my publisher page here on SMP < https://www.sheetmusicplus.com/publishers/leatherman-music-services/16718 >  or slip over to Facebook < https://www.facebook.com/leathermanmusicservices >, where you can see and hear many of my published works. Thanks for your interest!   God bless!Lyndell Leatherman, ASCAP.
$2.99
2.68 €
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Piano, Vocal and Guitar
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Words: Charles Wesley / Music: Louis Bourgeois
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some were not
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How Can We Sinners Know
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Leatherman Music Services
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SheetMusicPlus
Flesh And Bone (We Remember)
C Instruments
C Instrument - Level 2 - Digital Download SKU: A0.1437476 By Zach Williams. By Benj…
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C Instrument - Level 2 - Digital Download SKU: A0.1437476 By Zach Williams. By Benji Cowart, Jonathan Lindley Smith, and Zach Williams. Arranged by Barry McCormick. Christian,Country,Praise & Worship,Religious,Sacred. Lead Sheet / Fake Book. 5 pages. B. McCormick #1017580. Published by B. McCormick (A0.1437476). Introducing the Lead Sheet Arrangement of “Flesh and Bone (We Remember)” by Zach Williams Immerse yourself in the soulful melody of “Flesh and Bone (We Remember)” by the renowned Christian artist, Zach Williams1. This song, a track on his album “A Hundred Highways,” is a poignant reminder of grace, forgiveness, and the enduring power of faith2.Our lead sheet arrangement captures the essence of this beautiful song, providing you with the notated melody, chords, and lyrics. Ideal for music educators, students, and enthusiasts, this arrangement is a valuable tool for understanding and performing the song.The package also includes a Chord Sheet, featuring lyrics with chords placed above them, making it easy for guitarists and pianists to accompany singers. Additionally, chord diagrams and suggested strumming patterns are provided, aiding in the interpretation of the song’s harmonic structure and rhythm. Why Choose Our Arrangement? Our lead sheet arrangement offers several benefits: Ease of Use: The clear notation and layout make it easy to read and interpret. Versatility: It’s suitable for solo performers, choirs, or bands. Compact and Concise: Lots of information in the least amount of pages possible making it easy to pull arrangements together using this Lead Sheet as a reference. We even have a tabbed guitar intro which is a simplified version of what is heard in the recording so that it is accessible for a wider range of skills. Educational Value: It’s a great resource for music teachers and students, aiding in the understanding of melody, harmony, and rhythm. About the Song and Zach Williams “Flesh and Bone (We Remember)” is a powerful song that speaks to the heart. Its lyrics remind us of the grace and forgiveness found in faith. Zach Williams, the songwriter, is known for his heartfelt lyrics and soulful voice. His music continues to inspire and uplift listeners around the world. Connect and Share We encourage you to connect with us and share your performances using this music on social media. Tag us @resourcesularrangements and use the hashtag #FleshandBoneArrangement. We love seeing how our arrangements are used and enjoyed!Experience the joy of music with our Lead Sheet Arrangement of “Flesh and Bone (We Remember)” by Zach Williams. Order now and start making beautiful music today!
$3.99
3.57 €
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C Instruments
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Zach Williams
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Flesh And Bone
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B. McCormick
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SheetMusicPlus
The Story Of Reuben Clamzo & His Strange Daughter
Choral TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…
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Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
3.57 €
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Choral TTBB
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Arlo Guthrie
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The Story Of Reuben Clamzo & His Strange Daughter
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Edition Craig Hanson
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SheetMusicPlus
Where Everybody Knows Your Name
Piano, Voice
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.794124 Composed by Gary Port…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.794124 Composed by Gary Portnoy and Judy Hart Angelo. Arranged by Dave Gingras, John E. Dosher. Contemporary. Score. 3 pages. DAVID LEE GINGRAS #6510693. Published by DAVID LEE GINGRAS (A0.794124). A contemporary take on this classic theme song from the television sitcom Cheers - what else is there to say!This version features a root-based, chord-blocking that John and I have used in a number of our arrangements. We added a little left-hand rhythm and a couple of fills to make it fun to play. Enjoy!
$4.99
4.47 €
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Piano, Voice
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Gary Portnoy and Judy Hart Angelo
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Where Everybody Knows Your Name
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DAVID LEE GINGRAS
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SheetMusicPlus
Sunday Bloody Sunday
String Quartet: 2 violins, viola, cello
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.1…
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String Quartet Cello,String Quartet,Viola,Violin - Level 4 - Digital Download SKU: A0.1153128 By U2. By U2. Arranged by Kyle Pudenz. Celtic,Contemporary,Irish,Pop,Rock. Score and parts. 30 pages. ViolinVagabond Music #753361. Published by ViolinVagabond Music (A0.1153128). One does not simply walk into their local music store to find a string arrangement like this one... Unlike much of what you'll find out in the world of cheap gig music, this was in fact written BY a string player who has played in symphony orchestras, rock bands, and everything in between; who knows what gigging as a quartet looks like, but also what will wow your audiences without requiring weeks of rehearsal to prepare. So leave your days of sight-reading through piano scores behind and give your quartet some firepower with this hard hitting chart, that will surely enable your ensemble to do at least a little justice to this legendarily emotional banger from Ireland's finest! Bono's soaring vocal melodies on this tune offer more than enough material on their own to tug at an audience's heartstrings, but in this chart you'll also find faithful adaptations of the iconic guitar & bass parts (performed by cello & viola) that truly make this song one of a kind. Using extended string techniques like chopping & strum bowing, you'll feel as if you're rocking out with the band... with no need to hire those annoying extra musicians. But as we all know, strings have much more to offer dynamically than simply plodding along mimicking a rock band, so I've taken several select moments in this chart to break away briefly from those driving grooves into more open, contemplative textures, truly allowing this instrumentation to shine in its own unique way. All of that said, maybe rhythmic string playing isn't your thing and you just need a chart that classical string players can read through on a cocktail gig where the buyer clearly doesn't pay attention to the lyrical content of their song requests. If that's the case, I've provided a couple alternate figures at the back of the book that can be used to replace the percussive stuff in the viola part, making it much simpler without sacrificing too much of the energy. OR if you want to go even further, maybe you DO want to hire that band after all so you can just relax and play some melody lines. Lucky for you I have included a rhythm section lead sheet as part of the music packet, so that any auxiliary musicians you want to add in will be able to follow along with ease. If you have absolutely no idea what chopping and strum bowing are, and you'd like to expand your horizons and learn a bit more, I highly recommend this resource: https://strum-bowing-groove-academy.teachable.com?coupon_code=KYLE20&affcode=459429_z8y3atf As mentioned before though, these techniques are not 100% necessary to handle this arrangement, so feel free to experiment on your own and add them in as you feel comfortable. Enjoy this chart, and don't be afraid to do a little head-banging once that groove really locks in! Performance time - approximately 4:05-4:20 depending on how hard you want to push the tempo Questions? Feel free to contact me via my website, www.kylepudenz.com/ or on the 'Insta @theviolinvagabond
$19.99
17.9 €
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String Quartet: 2 violins, viola, cello
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U2
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Sunday Bloody Sunday
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ViolinVagabond Music
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SheetMusicPlus
Toccata and Fuge in d-Moll BWV 565 for Violin & Viola, Ver.1
Violin, Viola (duet)
Instrumental Duet,Viola,Violin - Level 5 - Digital Download SKU: A0.1402227 Compose…
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Instrumental Duet,Viola,Violin - Level 5 - Digital Download SKU: A0.1402227 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 19 pages. ACORDO Sheet Music #985434. Published by ACORDO Sheet Music (A0.1402227). Toccata and Fugue in D Minor, BWV 565 by Johann Sebastian Bach (1685-1750) is a famous piece for the organ. Surprisingly, it wasn't very popular when Bach was alive. It was first published in 1833 by Felix Mendelssohn in a collection called noch wenig bekannte Orgelcompositinen. Mendelssohn performed it in 1840, which made it more well-known. This piece is different from Bach's later works in style and composition; for example, the fugue is relatively simple. Music expert Peter Williams suggested in his 2003 book The Organ Music of J. S. Bach that it might have originally been written for solo violin. Following his idea, some people tried to adapt it for solo violin, with some versions in A minor based on his suggestion.While it's unsure if Williams' idea is correct, it implies that this piece might work well for string instruments. We decided to arrange it for a Violin and Viola Duet, trying to stay close to the original organ version. However, because of technical reasons, we had to remove some parts. Our first arrangement was liked at a small concert in 2022. During this, we realized that the music could be good for string ensembles. We also found that removing some notes made the remaining ones stand out, sometimes making a special beauty. This suggests that the music might have been meant for string instruments originally.We first planned to publish this arrangement in 2020, but we changed our minds. We wanted as many people as possible to enjoy this wonderful piece, so we decided to publish two versions. Version 1 is similar to the organ score, sounding familiar but being technically hard. In contrast, Version 2 skips some notes, making it easier technically. Players will still experience the unique beauty of string ensembles with intentional note removal. The choice between the two depends on what players prefer and their skill level.To help players understand better, we've used colored notes. Different colors show different voices, helping players know each instrument's role. In Version 2, green notes show parts where both instruments play the same thing. While these notes are optional, playing them will help synchronize the two parts.Turning pages can be hard because there aren't many rests. We suggest using a tablet or arranging music stands side by side with all six pages in a row. If that's not possible, we suggest connecting pages 1-3 and 4-6 horizontally with cardboard. Put pages 1-3 in front and 4-6 in the back. For specific instructions during the piece:- The Violin plays the Viola part in bar 74, shown by solid parentheses. Turn the page after playing the third beat of bar 75 and don't play the Violin part in bar 76 (marked with dashed brackets), as the Viola will play it.- The Viola turns the page right after playing bar 73. Instead of playing the part in dashed parentheses in bar 74 (which the Violin will play), play the Violin part of bar 75 (marked with actual parentheses).
$12.60
11.28 €
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Violin, Viola (duet)
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Johann Sebastian Bach
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Toccata and Fuge in d-Moll BWV 565 for Violin & Viola, Ver.1
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ACORDO Sheet Music
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SheetMusicPlus
Toccata and Fuge in d-Moll BWV 565 for Violin & Viola, Ver.2
Violin, Viola (duet)
Instrumental Duet,Viola,Violin - Level 5 - Digital Download SKU: A0.1402228 Compose…
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Instrumental Duet,Viola,Violin - Level 5 - Digital Download SKU: A0.1402228 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 19 pages. ACORDO Sheet Music #985435. Published by ACORDO Sheet Music (A0.1402228). Toccata and Fugue in D Minor, BWV 565 by Johann Sebastian Bach (1685-1750) is a famous piece for the organ. Surprisingly, it wasn't very popular when Bach was alive. It was first published in 1833 by Felix Mendelssohn in a collection called noch wenig bekannte Orgelcompositinen. Mendelssohn performed it in 1840, which made it more well-known. This piece is different from Bach's later works in style and composition; for example, the fugue is relatively simple. Music expert Peter Williams suggested in his 2003 book The Organ Music of J. S. Bach that it might have originally been written for solo violin. Following his idea, some people tried to adapt it for solo violin, with some versions in A minor based on his suggestion.While it's unsure if Williams' idea is correct, it implies that this piece might work well for string instruments. We decided to arrange it for a Violin and Viola Duet, trying to stay close to the original organ version. However, because of technical reasons, we had to remove some parts. Our first arrangement was liked at a small concert in 2022. During this, we realized that the music could be good for string ensembles. We also found that removing some notes made the remaining ones stand out, sometimes making a special beauty. This suggests that the music might have been meant for string instruments originally.We first planned to publish this arrangement in 2020, but we changed our minds. We wanted as many people as possible to enjoy this wonderful piece, so we decided to publish two versions. Version 1 is similar to the organ score, sounding familiar but being technically hard. In contrast, Version 2 skips some notes, making it easier technically. Players will still experience the unique beauty of string ensembles with intentional note removal. The choice between the two depends on what players prefer and their skill level.To help players understand better, we've used colored notes. Different colors show different voices, helping players know each instrument's role. In Version 2, green notes show parts where both instruments play the same thing. While these notes are optional, playing them will help synchronize the two parts.Turning pages can be hard because there aren't many rests. We suggest using a tablet or arranging music stands side by side with all six pages in a row. If that's not possible, we suggest connecting pages 1-3 and 4-6 horizontally with cardboard. Put pages 1-3 in front and 4-6 in the back. For specific instructions during the piece:- The Violin plays the Viola part in bar 74, shown by solid parentheses. Turn the page after playing the third beat of bar 75 and don't play the Violin part in bar 76 (marked with dashed brackets), as the Viola will play it.- The Viola turns the page right after playing bar 73. Instead of playing the part in dashed parentheses in bar 74 (which the Violin will play), play the Violin part of bar 75 (marked with actual parentheses).
$12.60
11.28 €
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Violin, Viola (duet)
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Johann Sebastian Bach
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Toccata and Fuge in d-Moll BWV 565 for Violin & Viola, Ver.2
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ACORDO Sheet Music
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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
1.78 €
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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
Little Things Mean A Lot
Piano, Voice
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1420464 Composed by Carl Stu…
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1420464 Composed by Carl Stutz and Edith Lindeman. Arranged by Dave Gingras and John E. Dosher. Broadway,Film/TV,Jazz,Musical/Show. Score. 3 pages. DAVID LEE GINGRAS #1001893. Published by DAVID LEE GINGRAS (A0.1420464). Little Things Mean a Lot is a popular song, with lyrics by Edith Lindeman and music by Carl Stutz, published in 1953. Lindeman was the leisure editor of the Richmond Times-Dispatch, and Stutz, a disc jockey from Richmond, Virginia. Stutz and Lindeman are also known for writing Perry Como's 1959 hit, I Know (which reached No.47 on the U.S. Billboard chart and No.13 on the UK Singles Chart). This version features a root-based chord blocking that John and I have used in a number of our arrangements. We added what we think are some pretty cool left-hand fills that we hope you will like! It's a fun song and not too hard to play!
$4.99
4.47 €
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Piano, Voice
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Carl Stutz and Edith Lindeman
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Little Things Mean A Lot
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DAVID LEE GINGRAS
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SheetMusicPlus
Jesus Shall Reign Where'er the Sun
Piano solo
Piano Solo - Level 5 - Digital Download SKU: A0.828227 Composed by John Hatton. Arr…
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Piano Solo - Level 5 - Digital Download SKU: A0.828227 Composed by John Hatton. Arranged by Paul Thurmond. 20th Century,Baroque,Christian,Sacred. Score. 7 pages. Paul Thurmond #4968929. Published by Paul Thurmond (A0.828227). Tune: DUKE STREETUse: Prelude, PostludeOne Sunday my church was singing Jesus Shall Reign Where’er the Sun as the opening hymn. It’s our tradition that the last stanza of a hymn is sung in unison, so that I as the organist can change the harmonization and keep things interesting. Sometimes I know ahead of time what I’m going to do, and sometimes I make it up on the spot.On this particular morning I planned on being spontaneous. (Can spontaneity be planned?) When we got to the final stanza, I threw on the 16′ pedal reed and went to town.I don’t know if this is the case for all musicians, but while I’m playing my brain is working on several different levels. Most of these are involved in actually playing the music, but there’s also a running commentary on how things are going. This commentary is usually really boring: It’s going okay. It’s going okay. It’s going okay. Sometimes the messages are more interesting: Uh-oh. She just dropped her mute. I missed that chord; remember to circle it when we’re done. My page turner appears to be on fire.So: We’re in the final stanza of Jesus Shall Reign Where’er the Sun. Big, majestic hymn. Over a hundred congregants and choir members are enthusiastically singing in unison. I’m leading them from the organ with an improvised accompaniment that involves all of my limbs. It’s fair to say that I was concentrating hard.Suddenly the commentary part of my brain breaks in: Dude, your feet are totally playing Canon in D. Cool!Canon in D is the most famous work of Johann Pachelbel, a German composer who preceded Bach by a few decades. It’s overused at weddings, but it’s actually a really good piece of music. The original is for three violins and a basso continuo part, which would usually have been played by harpsichord and cello. In this case, the basso continuo plays the same eight measures again and again throughout the piece. This technique of repetition is called a ground bass. While that’s going on, the violins play several different themes on top of it.When I was improvising that Sunday, my feet had accidentally wandered into that ground bass part, which happened to fit nicely with the melody we were singing. During the sermon (sorry Pastor!) I started going through the violin themes in my head, seeing if any of them could also match up with the hymn tune. Some of them worked and some didn’t. I decided to write a sort of theme and variations, where the hymn tune appears in various forms. Sometimes it’s played along with one of the violin themes, and sometimes a violin theme serves as an interlude on its own. And except for one passage, the left hand is always playing some version of the basso continuo theme. I also changed the meter from 4/4 to 3/4 to make it more interesting. It culminates in a climax worthy of a king. I hope you enjoy it.
$4.99
4.47 €
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Piano solo
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John Hatton
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Jesus Shall Reign Where'er the Sun
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Paul Thurmond
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SheetMusicPlus
Mary's Lullaby (Silent Night)
Choral Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.801035 Compose…
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Choral Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.801035 Composed by Unknown. Arranged by Connie Boss. Christmas. Score. 5 pages. Connie Boss #3899099. Published by Connie Boss (A0.801035). This is a Christmas song that is from the public domain. Silent Night and All the Pretty Little Horses melody have been used. Silent Night has the lyrics from the first verse but lyrics for the second verse are different. All the Pretty Little Horses has different lyrics. It has SATB choir parts with a solo and narration during it. You can view this choir at https://www.youtube.com/watch?v=3I6yer42ciQ&index=6&list=PLlYnLRoGREBiIbRVrK64gkENOalkGq7HC&... and cello accompaniment and Guitar chords are included. Mary probably sang to her baby. We dpn't know what she may have sung, but maybe it was something like this. It is a soft and slow lullaby song.
$5.50
4.93 €
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Unknown
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Mary's Lullaby
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Connie Boss
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SheetMusicPlus
"Spiral" for String Orchestra
String Orchestra
String Orchestra - Level 5 - Digital Download SKU: A0.1306886 Composed by Andrew Ho…
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String Orchestra - Level 5 - Digital Download SKU: A0.1306886 Composed by Andrew Hodges. 21st Century,Classical,Historic. Score and Parts. 32 pages. Andrew Hodges #896222. Published by Andrew Hodges (A0.1306886). Spiral - Our Journey Through The Pandemic - for String Orchestra - composer Andrew HodgesEveryone's experience of the pandemic has been different and people will have different things to say about it. I think the first feeling we may have had is panic and shock. This was something not easy to get to grips with. Then the churning over and over in our minds about what we're supposed to do and the radical switch in the way our lives began to operate. As the months went by we learned more about the suffering and the conflict it caused. At some point we may finally get to know what it feels to be out of it. The relief when it comes will be tinged with much sadness and grief.
$69.99
62.68 €
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String Orchestra
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Andrew Hodges
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"Spiral" for String Orchestra
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Andrew Hodges
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SheetMusicPlus
Heartbeats
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.1268428 By Jose Gonzalez. By Karin…
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Solo Guitar - Level 4 - Digital Download SKU: A0.1268428 By Jose Gonzalez. By Karin Dreijer Andersson and Olof Dreijer. Arranged by Pablo Alcázar. 21st Century,Pop,Singer/Songwriter,Wedding. Individual part. 6 pages. Pablo Alcázar #860970. Published by Pablo Alcázar (A0.1268428). Arrangement for solo guitar of the famous song Heartbeats. This arrange by Pablo Alcázar, professional guitarist arranger and composer, is for intermediate players that want a challenge to play or for professional guitarist that want some new repertoire for wedding gigs or concerts. It includes the full voice melody line aswell as the full guitar line from the original song. This arrangement uses the 3º string on F# and the 6º string on D and the reading doesn't include the real notes you are playing but the translation of a normal tuning reading to make things easier. Also you can check the strings on the tablature in case you need to play in different positions.This is the Lyrics of the song:One night to be confusedOne night to speed up truthWe had a promise, babeFour hands and then awayBoth under influenceWe had divine senseTo know what to sayMind is a razor bladeTo call for hands of aboveTo lean onWouldn't be good enoughFor me, noOne night of magic rushThe start a simple touchOne night to push and screamAnd then reliefTen days of perfect huesThe colors red and blueWe had a promise, babeWe were in loveTo call for hands of aboveTo lean onWouldn't be good enoughFor me, noTo call for hands of aboveTo lean onWouldn't be good enoughAnd youYou knew the hand of the devilAnd youKept us awake with wolves teethSharing different heartbeatsIn one nightTo call for hands of aboveTo lean onWouldn't be good enoughFor me, noTo call for hands of aboveTo lean onWouldn't be good enough.
$4.99
4.47 €
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Guitar
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Jose Gonzalez
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Heartbeats
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Pablo Alcázar
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SheetMusicPlus
A Girl Born in Afghanistan (for solo voice with piano and optional violin)
Small Ensemble Piano,Violin,Voice - Level 4 - Digital Download SKU: A0.787341 Compo…
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Small Ensemble Piano,Violin,Voice - Level 4 - Digital Download SKU: A0.787341 Composed by Greg Bartholomew. Concert,Contemporary,Graduation,Standards. Score and parts. 14 pages. Burke & Bagley #2807631. Published by Burke & Bagley (A0.787341). United Nations Secretary-General Kofi Annan was awarded the 2001 Nobel Peace Prize. The text for this piece is adapted from his Nobel Lecture given on December 10, 2001. The lecture text is Copyright © 2001 by The Nobel Foundation, Stockholm, 2001, and is used by permission. This work was originally written for unaccompanied mixed choir. It was adapted for solo voice with optional violin for Michael Oriatti.A Girl Born in Afghanistan Today, in Afghanistan, a girl will be born. Her mother will hold her and feed her, comfort her and care for her – just as any mother would anywhere in the world. In these basic acts of human nature, humanity knows no divisions. We must focus on improving the conditions of men and women. We must begin with the young Afghan girl. Saving that one life is to save humanity itself. In this new century, we must start from understanding Peace must be made real and tangible in the daily lives of every man and woman. The notion that what is ours must conflict with what is theirs is both false and dangerous. It has resulted in endless enmity and conflict. It has led men to commit great crimes in the name of a higher power. It need not be so. We can love what we are, without hating what we are not, without hating who we are not. The girl born in Afghanistan today is just one test of our humanity – But it is the only test that matters.
$9.99
8.95 €
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Greg Bartholomew
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A Girl Born in Afghanistan
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Burke & Bagley
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SheetMusicPlus
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