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Vous avez sélectionné:
I Think You're Great
Partitions à imprimer
38 partitions trouvées
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1
26
I Think You're Great
I Think You're Great
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Chorale 3 parties
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Contemporain
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Alex The Astronaut
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Dan Bennett
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I Think You're Great
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Daniel Bennett
#
SheetMusicPlus
Choral Choir (SAB) - SKU: A0.927956 By Alex The Astronaut. By Alexandra Francis Lynn. Arranged by Dan Bennett. Contemporary. Octavo. 6 pages. Daniel Ben...
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Choral Choir (SAB) - SKU: A0.927956 By Alex The Astronaut. By Alexandra Francis Lynn. Arranged by Dan Bennett. Contemporary. Octavo. 6 pages. Daniel Bennett #5801633. Published by Daniel Bennett (A0.927956). Touching 2020 song by Alex the Astronaut from the album I Think You're Great. Arranged for SAB community choir. Rich homophonic chorus for maximum feel-goods! Duration: approx 3m34s.Email the arranger for info regarding learning tracks, guitar chord charts or questions: dan.bennett143@hotmail.com
$2.99 ≈
2.67€
I Think We're Alone Now
I Think We're Alone Now
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Chorale SATB
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FACILE
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Tommy James And The Shondells
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K Bishop
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I Think We're Alone Now
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K. Bishop
#
SheetMusicPlus
Choral Choir (SATB) - Level 2 - SKU: A0.931601 By Tommy James And The Shondells. By Ritchie Cordell. Arranged by K Bishop. A Cappella. Octavo. 4 pages. ...
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Choral Choir (SATB) - Level 2 - SKU: A0.931601 By Tommy James And The Shondells. By Ritchie Cordell. Arranged by K Bishop. A Cappella. Octavo. 4 pages. K. Bishop #6132513. Published by K. Bishop (A0.931601). Do you remember singing this song along to TIFFANY when you were a teenager in your bedroom? Get that feeling back with your four-part acapella chorus or quartet! Super fun, easy to learn, and some 'beat boxing' sounds too. Also a great song to attract new singers to your group and to practice vocal dynamics. Please email the arranger directly for FREE LEARNING TRACKS! katbishop78@gmail.com .
$3.00 ≈
2.68€
You're Blue? Me Too!
You're Blue? Me Too!
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Martycli Piano Guy
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Martyn Clive Johnson
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You're Blue? Me Too!
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Martyn Johnson
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1311573 By Martycli Piano Guy. By Martyn Clive Johnson. Arranged by Martyn Clive Johnson. 20th Century,Blues,Comedy,Instr...
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Piano Solo - Level 4 - SKU: A0.1311573 By Martycli Piano Guy. By Martyn Clive Johnson. Arranged by Martyn Clive Johnson. 20th Century,Blues,Comedy,Instructional,Jazz. Score. 8 pages. Martyn Johnson #900580. Published by Martyn Johnson (A0.1311573). This is a Blues/Boogie Woogie Piano piece. It's a fun piece with loads of blues riffs running into each other. I wrote it as a sort of etude to collate a lot of blues licks and get them all under my fingers but it is still quite a catchy composition with strong melodic content.There is a key change somewhere in the middle from C to Db which perhaps complicates it a little but I think it gives it a real lift and stops any blues fatigue setting in!It's a fun piece which I hope you enjoy learning and playing.NB. Please note the sheet music is a piano solo and doesn't include notation for the other instruments, bass, drums etc that feature in my YouTube video. It was written as a piano solo, however, and sounds great when played as such.
$3.99 ≈
3.56€
I See You
I See You
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Chorale SATB
#
INTERMÉDIAIRE
#
Michelle Willis
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I See You
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Teton Music
#
SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.887281 Composed by Michelle Willis. A Cappella,Contemporary. Octavo. 10 pages. Teton Music #5033147. Published b...
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Choral Choir (SATB) - Level 3 - SKU: A0.887281 Composed by Michelle Willis. A Cappella,Contemporary. Octavo. 10 pages. Teton Music #5033147. Published by Teton Music (A0.887281). SATB, a cappellaWritten for the Early Light Academy Spotlight Singers (South Jordan, UT) and taken from actual responses from the students they were asked, when people look at you, what do you want them to see? This song is intended to be a very personal expression for the singers as well as for the audience.Text:I see: eyes and a face, hands and feetYou see: the sameI see: tears and a smile, working, movingYou see: the sameI see: pain, joy, strength, enduranceYou see, you think you see-but you can’t name it.I see you, please see me.When you look at me, see a person who isn’t afraid to be-- just be.I am tall or I am small, but I am happy to be me.I may be confident or meek, I may be really strong or weak,And if it changes week to week, it doesn’t matter.What matters is that you see me.When you listen, notice that my voice may sometimes raise the roofAnd other times it may seem aloof when I cannot find the proofOf what is truth and what is fair, but listen ‘til you hear me shareAnd know deep down I really care, because it matters.It matters that you see me.I see: someone who is strong and kind, someone who knows their mind, Someone who struggles just like me, but keeps fighting endlesslyI see you, please see me.I see: a soul who fin’ly knows I’m hereAnd doesn’t judge if I bow down to smallish fearsYou see me, and I see you, there’s nothing greater we can doThan to acknowledge we’re all trav’ling down this road,But not alone.It matters-That I see you-and you see me.
$2.49 ≈
2.22€
You're A Mean One, Mr. Grinch
You're A Mean One, Mr. Grinch
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Ensemble de saxophones
#
INTERMÉDIAIRE/AVANCÉ
#
Albert Hague
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Lisa Ochoco
#
You're A Mean One, Mr. Grinch
#
Lisa L Ochoco
#
SheetMusicPlus
Saxophone Ensemble,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.559678 Compo...
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Saxophone Ensemble,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - SKU: A0.559678 Composed by Albert Hague. Arranged by Lisa Ochoco. 20th Century,Christmas,Comedy,Film/TV,Jazz. 16 pages. Lisa L Ochoco #3887289. Published by Lisa L Ochoco (A0.559678). When one thinks of Christmas songs to sing, rarely is there a time when this song is on the program. I mean, who wants to sing about describing someone as charming as an eel or having a heart that's a dead tomato splotched? However, the music is great, and it would be a fun addition to your Christmas repertoire, especially if you let your audience sing the stink, stank, stunk lyrics!
$14.00 ≈
12.50€
You're A Mean One, Mr. Grinch
You're A Mean One, Mr. Grinch
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Albert Hague
#
Lisa Ochoco
#
You're A Mean One, Mr. Grinch
#
Lisa L Ochoco
#
SheetMusicPlus
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - SKU: A0.559697 Composed by Albert Hague. Arranged by Lisa Ochoco. 20th Century,Christmas,C...
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - SKU: A0.559697 Composed by Albert Hague. Arranged by Lisa Ochoco. 20th Century,Christmas,Comedy,Film/TV,Jazz. 16 pages. Lisa L Ochoco #4110841. Published by Lisa L Ochoco (A0.559697). When one thinks of Christmas songs to sing, rarely is there a time when this song is on the program. I mean, who wants to sing about describing someone as charming as an eel or having a heart that's a dead tomato splotched? However, the music is great, and it would be a fun addition to your Christmas repertoire, especially if you let your audience sing the stink, stank, stunk lyrics!
$14.00 ≈
12.50€
Bee Gees - How Deep Is Your Love (Piano Solo)
Bee Gees - How Deep Is Your Love (Piano Solo)
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Piano seul
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INTERMÉDIAIRE
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Rock
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Bee Gees
#
Mario Stallbaumer
#
Bee Gees - How Deep Is Your Lo
#
Mario Stallbaumer
#
SheetMusicPlus
Piano Solo - Intermediate - By Bee Gees. Arranged by Mario Stallbaumer. 3 pages. Published by Mario Stallbaumer...
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Piano Solo - Intermediate - By Bee Gees. Arranged by Mario Stallbaumer. 3 pages. Published by Mario Stallbaumer
Here's how to play "How Deep Is Your Love" by the Bee Gees on piano!
With this sheet music, you can play "How Deep Is Your Love" in an accurate piano arrangement which is not too hard to play, and sounds fantastic!
The full melody is included in the piano part, so it makes for a great instrumental (piano solo) version.
You can also get this arrangement with a system for the singer, as well as the full lyrics & chords on my publisher page:
https://www.sheetmusicplus.com/publishers/mario-stallbaumer/10808
"How Deep Is Your Love" is one of the most famous songs by the Bee Gees (besides "Stayin' Alive" and "Night Fever").
It was released in 1977 as a single, and also appeared on the soundtrack of the film "Saturday Night Fever" (starring John Travolta) in the same year.
"How Deep Is Your Love" is listed on Billboard's All Time Top 100, as well as on Rolling Stone's list of the 500 Greatest Songs of All Time.
It's certainly one of the greatest pop ballads to play on piano - with this piano sheet music, you can play it too!
If you like this arrangement, please consider leaving a review - it would mean a lot to me.
Here are the full lyrics to the Bee Gees' "How Deep Is Your Love":
I know your eyes in the morning sun
I feel you touch me in the pouring rain
And the moment that you wander far from me
I want to feel you in my arms again
And you come to me on a summer breeze
Keep me warm in your love, then you softly leave
And it's me you need to show
How deep is your love, how deep is your love
How deep is your love?
I really mean to learn
'Cause we're living in a world of fools
Breaking us down when they all should let us be
We belong to you and me
I believe in you
You know the door to my very soul
You're the light in my deepest, darkest hour
You're my savior when I fall
And you may not think I care for you
When you know down inside that I really do
And it's me you need to show
How deep is your love, how deep is your love
How deep is your love?
I really mean to learn
'Cause we're living in a world of fools
Breaking us down when they all should let us be
We belong to you and me
And you come to me on a summer breeze
Keep me warm in your love, then you softly leave
And it's me you need to show
How deep is your love, how deep is your love
How deep is your love?
I really mean to learn
'Cause we're living in a world of fools
Breaking us down when they all should let us be
We belong to you and me
$4.99 ≈
4.46€
Say You Won't Let Go - Piano Solo
Say You Won't Let Go - Piano Solo
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Piano seul
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INTERMÉDIAIRE
#
Pop musique
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James Arthur
#
Mario Stallbaumer
#
Say You Won't Let Go - Piano S
#
Mario Stallbaumer
#
SheetMusicPlus
Piano Solo - Intermediate - By James Arthur. Arranged by Mario Stallbaumer. 3 pages. Published by Mario Stallbaumer...
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Piano Solo - Intermediate - By James Arthur. Arranged by Mario Stallbaumer. 3 pages. Published by Mario Stallbaumer
Here's how to play "Say You Won't Let Go" by James Arthur on piano!
With this piano sheet music, you get an accurate arrangement of the full song which is not too hard to play, and sounds fantastic!
The full melody is included in the piano part, so it makes for a great instrumental (piano solo) version!
"Say You Won't Let Go" is the lead single from James Arthur's second studio album, "Back from the Edge".
It became one of his most successful songs, and has been streamed over 1 billion times on Spotify!
Here are the full lyrics to James Arthur's "Say You Won't Let Go":
I met you in the dark, you lit me up
You made me feel as though I was enough
We danced the night away, we drank too much
I held your hair back when
You were throwing up
Then you smiled over your shoulder
For a minute, I was stone-cold sober
I pulled you closer to my chest
And you asked me to stay over
I said, I already told ya
I think that you should get some rest
I knew I loved you then
But you'd never know
'Cause I played it cool when I was scared of letting go
I know I needed you
But I never showed
But I wanna stay with you until we're grey and old
Just say you won't let go
Just say you won't let go
I'll wake you up with some breakfast in bed
I'll bring you coffee with a kiss on your head
And I'll take the kids to school
Wave them goodbye
And I'll thank my lucky stars for that night
When you looked over your shoulder
For a minute, I forget that I'm older
I wanna dance with you right now
Oh, and you look as beautiful as ever
And I swear that everyday'll get better
You make me feel this way somehow
I'm so in love with you
And I hope you know
Darling your love is more than worth its weight in gold
We've come so far my dear
Look how we've grown
And I wanna stay with you until we're grey and old
Just say you won't let go
Just say you won't let go
I wanna live with you
Even when we're ghosts
'Cause you were always there for me when I needed you most
I'm gonna love you till
My lungs give out
I promise till death we part like in our vows
So I wrote this song for you, now everybody knows
Finally it's just you and me till we're grey and old
Just say you won't let go
Just say you won't let go
$4.99 ≈
4.46€
James Arthur - Say You Won't Let Go
James Arthur - Say You Won't Let Go
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Piano, Voix
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INTERMÉDIAIRE
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Pop musique
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James Arthur
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Mario Stallbaumer
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James Arthur - Say You Won't L
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Mario Stallbaumer
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SheetMusicPlus
Piano/Vocal/Chords - Intermediate - Digital Download By James Arthur. Arranged by Mario Stallbaumer. 6 pages. Published by Mario Stallbaumer...
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Piano/Vocal/Chords - Intermediate - Digital Download By James Arthur. Arranged by Mario Stallbaumer. 6 pages. Published by Mario Stallbaumer
Here's how to play "Say You Won't Let Go" by James Arthur on piano!
With this piano sheet music, you get an accurate arrangement of the full song which is not too hard to play, and sounds fantastic!
These piano sheets come with an extra system for the singer, as well as the song's full lyrics. However, the full melody is included in the piano part, so it makes for a great instrumental (piano solo) version, too!
"Say You Won't Let Go" is the lead single from James Arthur's second studio album, "Back from the Edge".
It became one of his most successful songs, and has been streamed over 1 billion times on Spotify!
Here are the full lyrics to James Arthur's "Say You Won't Let Go":
I met you in the dark, you lit me up
You made me feel as though I was enough
We danced the night away, we drank too much
I held your hair back when
You were throwing up
Then you smiled over your shoulder
For a minute, I was stone-cold sober
I pulled you closer to my chest
And you asked me to stay over
I said, I already told ya
I think that you should get some rest
I knew I loved you then
But you'd never know
'Cause I played it cool when I was scared of letting go
I know I needed you
But I never showed
But I wanna stay with you until we're grey and old
Just say you won't let go
Just say you won't let go
I'll wake you up with some breakfast in bed
I'll bring you coffee with a kiss on your head
And I'll take the kids to school
Wave them goodbye
And I'll thank my lucky stars for that night
When you looked over your shoulder
For a minute, I forget that I'm older
I wanna dance with you right now
Oh, and you look as beautiful as ever
And I swear that everyday'll get better
You make me feel this way somehow
I'm so in love with you
And I hope you know
Darling your love is more than worth its weight in gold
We've come so far my dear
Look how we've grown
And I wanna stay with you until we're grey and old
Just say you won't let go
Just say you won't let go
I wanna live with you
Even when we're ghosts
'Cause you were always there for me when I needed you most
I'm gonna love you till
My lungs give out
I promise till death we part like in our vows
So I wrote this song for you, now everybody knows
Finally it's just you and me till we're grey and old
Just say you won't let go
Just say you won't let go
$4.99 ≈
4.46€
The Betrayal
The Betrayal
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Michelle Kraak
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The Betrayal
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Michelle Kraak
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 4 - SKU: A0.1012606 Composed by Michelle Kraak. Easter,Praise & Worship,Sacred. 16 pages. Michelle Kraak #6102931. Pu...
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Choral Choir,Choral (SATB) - Level 4 - SKU: A0.1012606 Composed by Michelle Kraak. Easter,Praise & Worship,Sacred. 16 pages. Michelle Kraak #6102931. Published by Michelle Kraak (A0.1012606). The Betrayal is written for choir (soprano, alto, tenor, bass). It is a religious piece based on the passion of Christ. It has aspects of imitation, with a lot of independence in the parts. The vocal parts represent the voice of Jesus, the voices of those who crucified him, a narrator, and also briefly the voice of Peter, Jesus' disciple. The bass primarily sings the role of the people who called for his death, but as the piece continues others join in this role. I wrote some of the lyrics and also pulled some verses in from the Bible. I think this would be a great piece for Holy Week, perhaps on Good Friday or Maundy Thursday. the piece captures some of the intense emotions involved in the crucifixion and would make a great addition to Lenten music in the church. Lyrics:Why did you leave me?Why did you run?I absolved you of your sin. Jesus Christ must die for what he's done. I absolved you of your sin,I saved you from yourselves,I just wanted to lead you,Closer to God. Death! I wanted to give you new life. Three times you will deny me, Woman I do not know him! Jesus Christ must die for what he's done. Why did you leave me? Why did you run?I absolved you of your sin.I saved you from yourselves,I just wanted to lead you, Closer to God. Jesus I didn't know him.I don't know the man! Jesus Christ must die for what he's done. Peter struck him!Cut off his ear,Jesus touched him and healed him,Though the man had come for him. Jesus Christ must die for what he's done. Why should Jesus die for what he's done?Why did I forsake the Son of God?I'd have called for him to be crucified. We are no better,Then the past. Why did you forsake me,Why did you forsake me? Forgive them,For they do not know what they're doing. Forgive them,For they do not know what they're doing. Betrayed with a kiss. Surely he was the son of God.Surely he was the son of God.Surely he was the son of God.4 minutes 29 seconds6 minutes 29 secondsashevilletrumpet.comhttps://www.facebook.com/kraakmichellehttps://www.instagram.com/kraakmichelle/https://www.linkedin.com/in/michelle-kraak-71b0258a/
$16.95 ≈
15.14€
The Story Of Reuben Clamzo & His Strange Daughter
The Story Of Reuben Clamzo & His Strange Daughter
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Chorale TTBB
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FACILE
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo &am
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Edition Craig Hanson
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SheetMusicPlus
Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edi...
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Choral Choir (TTBB) - Level 2 - 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 ≈
3.56€
Edwin Culver: a bridge a-way, exits within (for solo guitar)
Edwin Culver: a bridge a-way, exits within (for solo guitar)
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Guitare
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INTERMÉDIAIRE
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Contemporain
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Edwin Culver
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Edwin Culver: a bridge a-way,
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Edwin Culver
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published ...
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Solo Guitar - Level 3 - SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published by Edwin Culver (A0.1032084). Classical Guitar Solo - IntermediateComposed by Edwin Culver (1992-) 4 Pages. Duration 7'30Composer's note: Have you ever felt stuck? Trapped by something you can’t fully understand no matter how hard you try? Perhaps it’s something from our past that we never invited...or something we’ve missed in our closest relationships, maybe it’s just the dread we’ve felt waking up early in the morning to repeat the daily grind. We work hard to try and propel ourselves out of this nightmare, but we never seem to get totally free, in fact sometimes it feels like we’re just making ourselves feel worse by failing to overcome it yet again. This piece, ...a bridge a-way, exits within, represents that feedback loop, that stuckness. The piece came to me when I felt stuck in life by several things - old scars, old habits, crippling emotions. I had been wanting to write something in a minimalist style for the guitar for quite some time and the repetition found in so much minimalist music seemed like the obvious way for expressing this stuckness. There’s constant motion in the piece, just like when we try to take constant action in our lives to improve our circumstances. But all this motion never seems to get us anywhere new. We’re spinning our wheels…But one of the interesting things about great minimalist music is that it’s not merely about repetition. I don’t believe the greatest minimalists were concerned with having less stuff in their music for the sake of having less. Instead, what I think they more often aimed for was producing the biggest emotional impact that they could through the tiniest of changes. And if in your mind’s eye you zoom out from one of these minimalist masterworks and perceive it on a grand scale, you realize that despite all the seemingly redundant repetition in the moment the piece actually covers a huge distance because all those tiny changes add up.Likewise, in ...a bridge a-way, exits within, it seems like the performer can’t free himself from the territory of the first position on the guitar for the longest time. Even when he does venture higher up the instrument he’s always inextricably pulled back to the starting point. But small changes can have a profound impact.It doesn’t feel like we’re making headway whenever we’re having to crawl out of our skin - until, suddenly, when it’s all over. And you hear this towards the end of the piece, when there’s a sudden magnetic force that pulls the music from a low A to a high E-natural. From A to E, a bridge to exits eternal. The bridge has been found within, in the One I’ve put my trust in, because I can’t reach my eternal destiny on my own. This is ...a bridge a-way, exits within.
$11.99 ≈
10.71€
Here, There And Everywhere
Here, There And Everywhere
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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The Beatles
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Sarah Cellobat Chaffee
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Here, There And Everywhere
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Sarah Cellobat Chaffee
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.1432730 By The Beatles. By John Lennon and Paul McCartney. Arranged by Sarah Cellob...
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.1432730 By The Beatles. By John Lennon and Paul McCartney. Arranged by Sarah Cellobat Chaffee. Film/TV,Pop,Rock,Wedding. 14 pages. Sarah Cellobat Chaffee #1013148. Published by Sarah Cellobat Chaffee (A0.1432730). Paul McCartney has said before that Here, There And Everywhere is one of his personal favorites out of all the songs he's ever written -- and I think many people around the world would share that sentiment! Originally released in 1966 on their album Revolver, the harmonies of this beloved Beatles song were inspired by the Beach Boys, and it received great popular reception and great critical acclaim as an outstanding contribution to the genre of love ballads. And with its dreamy romantic lyrics about love and living in the moment, it's no wonder this is still a popular request for weddings to this day! This Cellobat arrangement for your string quartet was originally written for a wedding ceremony, but it will also be perfect for receptions, cocktail hour, parties, solo & ensemble contest, or any other occasion you need to remind your audience what life is all about. Maintaining the beautiful layered harmonies, gentle groove, and soaring melodies of the original, you're sure to enjoy playing this arrangement as much as your audience will love listening to it! Rated intermediate; this will be playable for students and easily sightreadable for professionals.Sarah “Cellobat” Chaffee is an in-demand acoustic & electric cellist and string arranger. Currently, she performs with legendary rock band Aerosmith in their “Deuces Are Wild” residency show, and she is the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays with many other groups including Premiere Wedding Music, Bella Electric Strings, the Femmes Of Rock, and David Perrico’s Pop Strings Orchestra. Sarah has performed and recorded with numerous other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Michael Bublé, Sarah Brightman, and Lady A. She is the exclusive arranger for a number of award-winning wedding and event companies all across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles all over the world. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobat.
$16.99 ≈
15.18€
She
She
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Flûte traversière
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FACILE
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Elvis Costello
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Charles Aznavour, one of the g
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Leo Silva
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She
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MP Sheet Music
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SheetMusicPlus
Flute Solo - Level 2 - SKU: A0.590530 By Elvis Costello. By Charles Aznavour and Herbert Kretzmer. Arranged by Leo Silva. Film/TV,Pop. Individual part. ...
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Flute Solo - Level 2 - SKU: A0.590530 By Elvis Costello. By Charles Aznavour and Herbert Kretzmer. Arranged by Leo Silva. Film/TV,Pop. Individual part. 1 pages. MP Sheet Music #199804. Published by MP Sheet Music (A0.590530). The simplicity of a flower or a song can snatch your heart... I think it's hard to have someone who doesn't know She by Charles Aznavour and how much this song enchanted generations. Composed by Charles Aznavour, one of the greatest French singers of all time, of Armenian origin, also an actor. Aware of the potential of his newest song, Aznavour decided to record She (written by him and Herbert Kretzmer) not only in French, but also in English, German, Spanish and Italian. And he was right: released in 1974, the song was hugely successful everywhere, topping the UK charts. In 1999, 25 years later, She was covered by the British Elvis Costello for the soundtrack of the film Notting Hill (A Place Called Notting Hill), theme song by the couple William Thacker (Hugh Grant) and Anna Scott (Julia Roberts), quickly reaching worldwide success.
$4.99 ≈
4.46€
Rhythm Only - Book 2 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
Rhythm Only - Book 2 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
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Chorale SATB
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INTERMÉDIAIRE
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Nathan Petitpas - Dots and Bea
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Rhythm Only - Book 2 - Eighths
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Dots and Beams
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 3 - SKU: A0.931836 Composed by Nathan Petitpas - Dots and Beams. Instructional. Octavo. 137 pages. Dots and Beams #47...
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Choral Choir (SATB divisi) - Level 3 - SKU: A0.931836 Composed by Nathan Petitpas - Dots and Beams. Instructional. Octavo. 137 pages. Dots and Beams #4776187. Published by Dots and Beams (A0.931836). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00 ≈
8.93€
Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
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Methodes
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Nathan Petitpas - Dots and Bea
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Rhythm Only - Book 1 - Eighths
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Hor...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Horn,Euphonium,Flute,Hand Percussion,Handbell,Harmonica,Harpsichord,Marimba,Multi-Percussion,Oboe,Orff Instrument,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Timpani,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 1 - SKU: A0.931835 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 137 pages. Dots and Beams #4776185. Published by Dots and Beams (A0.931835). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00 ≈
8.93€
Marshmello - Happier
Marshmello - Happier
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Piano, Voix
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INTERMÉDIAIRE
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Pop musique
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Marshmello & Bastille, M
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Mario Stallbaumer
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Bastille, Marshmello (Feat
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Marshmello - Happier
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Mario Stallbaumer
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SheetMusicPlus
Piano Solo, Piano/Vocal/Chords - Intermediate - Digital Download By Marshmello & Bastille, Marshmello (Feat. Bastille). Arranged by Mario Stall...
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Piano Solo, Piano/Vocal/Chords - Intermediate - Digital Download By Marshmello & Bastille, Marshmello (Feat. Bastille). Arranged by Mario Stallbaumer. 7 pages. Published by Mario Stallbaumer
Here's how to play "Happier" by Marshmello (feat. Bastille) on piano!
With this piano sheet music, you can play "Happier" on piano.
It's an accurate piano arrangement of the whole song which is not too hard to play, and sounds fantastic!
The whole melody is included in the piano part, so it sounds great when played as an instrumental version. However, you can also use these piano sheets to accompany singers, or sing along yourself!
This sheet music comes with a seperate system for the singer, and includes the song's full lyris.
"Happier" is a follow-up to Marshmello's super-hit "Friends" (feat. Anne-Marie), and it's a beautiful collaboration with British indie-band Bastille.
Here are the full lyrics to "Happier":
Lately, I've been, I've been thinking
I want you to be happier, I want you to be happier
When the morning comes
When we see what we've become
In the cold light of day we're a flame in the wind
Not the fire that we've begun
Every argument, every word we can't take back
'Cause with the all that has happened
I think that we both know the way that the story ends
Then only for a minute
I want to change my mind
'Cause this just don't feel right to me
I want to raise your spirits
I want to see you smile but
Know that means I'll have to leave
Know that means I'll have to leave
Lately, I've been, I've been thinking
I want you to be happier, I want you to be happier
When the evening falls
And I'm left there with my thoughts
And the image of you being with someone else
Well, that's eating me up inside
But we run our course, we pretend that we're okay
Now if we jump together at least we can swim
Far away from the wreck we made
Then only for a minute
I want to change my mind
'Cause this just don't feel right to me
I want to raise your spirits
I want to see you smile but
Know that means I'll have to leave
Know that means I'll have to leave
Lately, I've been, I've been thinking
I want you to be happier, I want you to be happier
So I'll go, I'll go
I will go, go, go
So I'll go, I'll go
I will go, go, go
Lately, I've been, I've been thinking
I want you to be happier, I want you to be happier
Even though I might not like this
I think that you'll be happier, I want you to be happier
Then only for a minute (only for a minute)
I want to change my mind
'Cause this just don't feel right to me
I want to raise your spirits
I want to see you smile but
Know that means I'll have to leave
Know that means I'll have to leave
Lately, I've been, I've been thinking
I want you to be happier, I want you to be happier
So I'll go, I'll go
I will go, go, go
$4.99 ≈
4.46€
Largo from Winter (The Four Seasons)
Largo from Winter (The Four Seasons)
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Violon
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Antonio Vivaldi
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Lavender Hill
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Largo from Winter
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Lavender Hill
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SheetMusicPlus
Violin Solo - Level 4 - SKU: A0.1214644 Composed by Antonio Vivaldi. Arranged by Lavender Hill. Baroque,Chamber,Classical,Standards,Wedding. 2 pages. La...
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Violin Solo - Level 4 - SKU: A0.1214644 Composed by Antonio Vivaldi. Arranged by Lavender Hill. Baroque,Chamber,Classical,Standards,Wedding. 2 pages. Lavender Hill #811619. Published by Lavender Hill (A0.1214644). A. Vivaldi, Largo from Winter (The Four Seasons) Advanced Intermediate LevelUnaccompanied Violin part: 1 pageTime: 2:00Yes, making music with others is one of the best things about being a violinist, and a string duo, trio or quartet is great for weddings and other private or corporate events.  But sometimes through constraints of availability / space / budget – or just for the thrill of it - we need to go it alone.  That’s when music for unaccompanied violin (not merely solo violin) comes into its own.Here’s the slow movement from Vivaldi's Winter concerto, from The Four Seasons, with the bass line folded into the violin part. I've recorded this with eighth notes, but think of them more as indications than full-length quavers, so you can take care of the upper line. I've written in some ornamentation as well - but feel free to improvise, if you're that way inclined!If you like this, please check out my other arrangements for unacompanied violin, including Baroque, Classical, Romantic, and Classic Jazz.
$9.99 ≈
8.92€
Sunflower (from "Spider-Man: Into the Spider-Verse")
Sunflower (from "Spider-Man: Into the Spider-Verse")
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Piano seul
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INTERMÉDIAIRE
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Film/TV
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Post Malone & Swae Lee
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Mario Stallbaumer
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Swae Lee
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Sunflower
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Mario Stallbaumer
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SheetMusicPlus
Piano Solo, Piano/Vocal/Chords - Intermediate - Digital Download By Post Malone & Swae Lee. Arranged by Mario Stallbaumer. 6 pages. Published b...
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Piano Solo, Piano/Vocal/Chords - Intermediate - Digital Download By Post Malone & Swae Lee. Arranged by Mario Stallbaumer. 6 pages. Published by Mario Stallbaumer
Here's how to play "Sunflower" by Post Malone & Swae Lee on piano (from "Spider-Man: Into the Spider-Verse")!
With this piano sheet music, you can play the entire song on piano.
It's not easy to create a "Sunflower" piano arrangement that actually sounds great - I worked hard on piano version, and must say I'm pretty happy with the result!
The full melody is included in the piano part, and these sheets come with the song's full lyrics.
"Sunflower" is a song from the soundtrack to the 2018 superhero film "Spider-Man: Into the Spider-Verse".
The film received a Golden Globe ("Best Animated Feature Film") and an Academy Award nomination.
Here are the full lyrics to the song:
[Intro: Swae Lee]
Ayy, ayy, ayy, ayy (Ooh)
Ooh, ooh, ooh, ooh (Ooh)
Ayy, ayy
Ooh, ooh, ooh, ooh
[Verse 1: Swae Lee]
Needless to say, I keep it in check
She was a bad-bad, nevertheless (Yeah)
Callin' it quits now, baby, I'm a wreck (Wreck)
Crash at my place, baby, you're a wreck (Wreck)
Needless to say, I'm keeping in check
She was a bad-bad, nevertheless
Callin' it quits now, baby, I'm a wreck
Crash at my place, baby, you're a wreck
Thinkin' in a bad way, losin' your grip
Screamin' at my face, baby, don't trip
Someone took a big L, don't know how that felt
Lookin' at you sideways, party on tilt
Ooh-ooh, some things you just can't refuse
She wanna ride me like a cruise and I'm not tryna lose
[Chorus: Swae Lee]
Then you're left in the dust, unless I stuck by ya
You're a sunflower, I think your love would be too much
Or you'll be left in the dust, unless I stuck by ya
You're the sunflower, you're the sunflower
[Verse 2: Post Malone]
Every time I'm leavin' on ya (Ooh)
You don't make it easy, no (No, no)
Wish I could be there for ya (Ooh)
Give me a reason to, oh (Oh)
Every time I'm walkin' out (Oh)
I can hear you tellin' me to turn around (Oh, oh)
Fightin' for my trust and you won't back down (No)
Even if we gotta risk it all right now, oh (Now)
I know you're scared of the unknown (-Known)
You don't wanna be alone (Alone)
I know I always come and go (And go)
But it's out of my control
[Chorus: Post Malone]
And you'll be left in the dust, unless I stuck by ya
You're the sunflower, I think your love would be too much
Or you'll be left in the dust, unless I stuck by ya
You're the sunflower, you're the sunflower (Yeah)
$4.99 ≈
4.46€
Avicii - Heaven - Piano Solo
Avicii - Heaven - Piano Solo
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Piano seul
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INTERMÉDIAIRE
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Pop musique
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Avicii
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Mario Stallbaumer
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Avicii - Heaven - Piano Solo
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Mario Stallbaumer
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SheetMusicPlus
Piano Solo - Intermediate - By Avicii. Arranged by Mario Stallbaumer. 4 pages. Published by Mario Stallbaumer...
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Piano Solo - Intermediate - By Avicii. Arranged by Mario Stallbaumer. 4 pages. Published by Mario Stallbaumer
Here's how to play "Heaven" by Avicii on piano!
With this piano sheet music, you can play the whole song on piano.
It's an accurate piano arrangement of the song which is not too hard to play, and sounds beautiful!
The whole melody is included in the piano part, so it sounds great as in instrumental (piano solo) version.
However, you can also use this sheet music to accompany a singer, or sing along yourself!
"Heaven" is a song from Avicii's posthumous studio album "Tim". It was released as the album's third single in June 2019.
"Heaven" is a powerful, emotional song about being in love. All profits from the album will go to the Tim Bergling Foundation for mental health awareness!
Here are the full lyrics to "Heaven" by Avicii:
Step out into the dawn
You pray 'til, you pray 'til the lights come on
And then you feel like you've just been born
Yeah, you come to raise me up
When I'm beaten and broken up
And now I'm back in the arms I love
And I think I just died
I think I just died
Yeah, I think I just died
I think I just died
And went to heaven
And went to heaven
Beaten and bathed in blood
I'm hit by, I'm hit by your love and drug
And now that you've c-come to raise me up
And I think I just died
I think I just died
Yeah, I think I just died
And went to heaven
Went to heaven
And went to heaven
Ooh, oh
It's such a night, such a beautiful night
It's such a view, such a beautiful sight
I think I just, oh, I think I just died, oh
And went to heaven
And went to heaven
Oh, yeah, yeah
We gon' be birds and fly
We're gonna set the world alight
We're gonna lose ourselves tonight, whoa
We gon' be birds and fly
We're gonna set the world alight
We're gonna lose ourselves tonight
Whoa, in heaven
Heaven
$4.99 ≈
4.46€
Out of This World
Out of This World
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Chorale 2 parties
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Julie Gardner Bray
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Out of This World
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Heritage Music Press
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SheetMusicPlus
2-part choir, Piano - SKU: LX.15-3335H Composed by Julie Gardner Bray. Educational. Octavo. 8 pages. Heritage Music Press #e15/3335H. Published by Herit...
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2-part choir, Piano - SKU: LX.15-3335H Composed by Julie Gardner Bray. Educational. Octavo. 8 pages. Heritage Music Press #e15/3335H. Published by Heritage Music Press (LX.15-3335H). ISBN 9780787718862.Full of stylistic variety and tonal color, this piece includes a positive message about how imagination and forward thinking sets us free to accomplish great things. I'm riding the tail of a comet, floating through new galaxies. If you're looking for me, you'll find me taking my place among the stars..
$2.40 ≈
2.14€
Let It Be
Let It Be
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Noël
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The Beatles
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Jeremy Nafziger
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Let It Be
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Jeremy Nafziger
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SheetMusicPlus
Choral Alto Voice,Bass Voice,Double Bass,Piano and Keyboard,Soprano voice,Tenor Voice,Viola,Violin - Level 3 - Interactive Download SKU: A0.481914 By The...
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Choral Alto Voice,Bass Voice,Double Bass,Piano and Keyboard,Soprano voice,Tenor Voice,Viola,Violin - Level 3 - Interactive Download SKU: A0.481914 By The Beatles. By John Lennon and Paul McCartney. Arranged by Jeremy Nafziger. This edition: Interactive Download. Christmas. Octavo. Duration 286. Jeremy Nafziger #6Re335EyhndYxZ7ALSuj10. Published by Jeremy Nafziger (A0.481914). Key: C major.The Beatles classic with the Advent hymn, In Dulci Jubilo. Both texts come from dreams, and this winds up a meaningful combination. In Dulci was written in the 14th century by German monk and teacher Heinrich Suso (or Seuse), who writes in his third-person autobiography about a dream he had: Now this same angel came up to the Servant [Suso] brightly, and said that God had sent him down to him, to bring him heavenly joys amid his sufferings; adding that he must cast off all his sorrows from his mind and bear them company, and that he must also dance with them in heavenly fashion. Then they drew the Servant by the hand into the dance, and the youth began a joyous song about the infant Jesus, which runs thus: In dulci jubilo... About 650 years later, in 1968, Paul McCartney was staying out late, drinking too much, and thinking that the Beatles were probably going to break up soon. Then one night, somewhere between deep sleep and insomnia, I had the most comforting dream about my mother, who died when I was only 14. She had been a nurse, my mum, and very hardworking, because she wanted the best for us.... At night when she came home, she would cook, so we didn’t have a lot of time with each other. But she was just a very comforting presence in my life. And when she died, one of the difficulties I had, as the years went by, was that I couldn’t recall her face so easily.... So in this dream twelve years later, my mother appeared, and there was her face, completely clear, particularly her eyes, and she said to me very gently, very reassuringly: “Let it be.†It was lovely. I woke up with a great feeling. It was really like she had visited me at this very difficult point in my life and gave me this message: Be gentle, don’t fight things, just try and go with the flow and it will all work out. His mother's name was Mary, or course. He wrote the song in the next few days, and it was released on the album on the same name in 1970, a month after the Beatles split up. As for the actual texts, they're very different. In Dulci is macaronic (alternating between two languages, in this case Latin and a translation from Medieval German) and ecstatic; Let It Be is English and more subdued. In this version, we alternate between the two but keep the Let It Be structure, except for a diversion in the middle where the well-known Bach setting is adopted as kind of an interlude. The two texts and melodies are sung together in the last verse (the fourth In Dulci verse and the third Let It Be verse), where both are talking about music.
$3.99 ≈
3.56€
Earmarks
Earmarks
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Saxophone Alto et Piano
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AVANCÉ
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Contemporain
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Kyle Vanderburg
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Earmarks
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NoteForge
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SheetMusicPlus
Instrumental Duet,Piano Alto Saxophone,Clarinet,Instrumental Duet,Piano - Level 5 - SKU: A0.1002829 Composed by Kyle Vanderburg. Contemporary. Score and...
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Instrumental Duet,Piano Alto Saxophone,Clarinet,Instrumental Duet,Piano - Level 5 - SKU: A0.1002829 Composed by Kyle Vanderburg. Contemporary. Score and parts. 46 pages. NoteForge #3885237. Published by NoteForge (A0.1002829). Earmarks is a musical (and hopefully humorous) view of some of the issues in today's political climate, designed to make you make you laugh--or to make you think. And definitely to make you talk. It starts out with Echo Chamber, where everything you hear is everything you want to hear. As we move more and more of our lives online, we're at the mercy of algorithms that try to deliver more of what we like--and give us options for removing that which we don't. The more time we spend in these echo chambers, the less we hear from dissenters. (The piano tries to come in with a new idea later in the movement, but is largely ignored).The second movement, Filibuster, does what I initially intended. Although all three instruments do get to play, it's a lot of repeated, pleasant-sounding milquetoast stuff without a great deal of substance that never really resolves. And it has a repeat sign at the end that allows it to be played as many times as the performers wish. How long this movement is depends entirely on the whim of the pianist. A swing state is a state with a similar level of support for both parties that can go either way during an election. Likewise, Swing States is a piece for saxophone and piano, and a piece for clarinet and piano, and it's a struggle to see who's going to win. Will they sort out their differences? Will we?
$14.99 ≈
13.39€
Flex on the Move-Tuba Edition
Flex on the Move-Tuba Edition
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Tuba
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INTERMÉDIAIRE/AVANCÉ
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Methodes
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Eric Bolvin
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Flex on the Move-Tuba Edition
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Faded Duck Music
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SheetMusicPlus
Tuba - Advanced Intermediate - Composed by Eric Bolvin. Method, Etudes and Exercises, Technique Training. 42 pages. Published by Faded Duck Music...
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Tuba - Advanced Intermediate - Composed by Eric Bolvin. Method, Etudes and Exercises, Technique Training. 42 pages. Published by Faded Duck Music
Flex on the Move is a fun and creative approach to developing flexibility on all brass instruments. Available for trumpet, trombone and tuba. 42 pages and a lifetime of material!
Flex on the Move
There are many great books on flexibility (or ?lip flexibility? as it is commonly called) available to today?s brass players. The commonly used books include Irons 27 Groups, Smith Lip Flexibilities and Colin Advanced Lip Flexibilities. Flexibility studies do go all the way back to Arban and St, Jacome, but became a staple of brass pedagogy in the early 20th Century through teachers and authors like Del Staigers, Herbert L. Clarke, Earl D. Irons and Walter M. Smith.
There are different categories of flexibility exercises. There is ?Long Flexibility? like those found in Colin?s Vol. I of Advanced Lip Flexibilities. With Long Flexibility you stay on one fingering and play a long line that takes you through a large range. Then, there is ?Short Flexibility? similar to what is found in Irons and Smith where you play a repeated pattern on one fingering. Most flexibility falls into the Short Flexibility category. With this book, I would like to add ?Moving Flexibility? to the list. With Moving Flexibility you play a short pattern that takes you up and down through all the fingerings, covering a large range on your instrument. The idea of Moving Flexibility was first introduced in Arban p. 45 #16 and later in Charles Colin, 100 Original Warm-Ups.
Why Practice Flexibility?
Chances are, you?re not going to stand in front of an audience and perform flexibility studies. Flexibility studies are a means to an end, not the end. Most trumpet players practice some form of flexibility every day as it improves overall technique and gets you ready to play music. In our lessons, Claude Gordon would tell me how a particular exercise or routine he was writing would ?get me feelin? good.? So, that is my goal with these studies, to get you ?feelin? good?.
Technique
There are many beliefs among players as to what makes a brass instrument ?work?. Some believe it?s the lip, some believe it?s the tongue, some believe it?s the air, or some (like me) believe it?s a balance or coordination of all three. I don?t think that your chosen methodology will matter when practicing these exercises. If you practice them religiously and correctly, you?re playing will certainly improve.
$16.95 ≈
15.14€
Symphony in Riffs: E-flat Alto Saxophone
Symphony in Riffs: E-flat Alto Saxophone
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Saxophone (partie séparée)
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Methodes
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Benny Carter
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Symphony in Riffs: E-flat Alto
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Jazz Ensemble - SKU: AX.00-PC-0014297_AX1 E-flat Alto Saxophone. Composed by Benny Carter. Instructional. Part. 4 pages. Alfred Music - Digital S...
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Jazz Ensemble - SKU: AX.00-PC-0014297_AX1 E-flat Alto Saxophone. Composed by Benny Carter. Instructional. Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0014297_AX1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014297_AX1). UPC: 038081331973.Symphony In Riffs is Benny Carter's most famous piece. Originally composed and arranged in the 1930's for 4 reeds and 5 brass, Benny re-scored this version for a larger band some 50 years later. Benny was known for his idiomatic saxophone writing and this chart is a great example of that. Just when you think that the soli chorus at D is as good as his saxophone writing can get, he modulates and tops it with the brilliant new section at I. This is a transitional piece between the pre-swing of the 1920s and the mid-1930s swing.
$3.00 ≈
2.68€
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I Think You're Great
