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Vous avez sélectionné:
Before Too Long
Partitions à imprimer
131 partitions trouvées
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Nobody Knows the Trouble I've Seen/I've Been in the Storm Too Long
Nobody Knows the Trouble I've Seen/I've Been in the Storm Too Long
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Piano seul
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INTERMÉDIAIRE
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Musique Sacrée
#
Musique Sacrée
#
African-American Spiritual
#
John Lehrack
#
Nobody Knows the Trouble I've
#
GGLS Publishing
#
SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1128839 Composed by African-American Spiritual. Arranged by John Lehrack. Folk,Religious,Sacred,Spiritual,Traditional. Sc...
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Piano Solo - Level 3 - SKU: A0.1128839 Composed by African-American Spiritual. Arranged by John Lehrack. Folk,Religious,Sacred,Spiritual,Traditional. Score. 4 pages. GGLS Publishing #729367. Published by GGLS Publishing (A0.1128839). These two traditional spirituals work well together. The arrangement begins with the arrival of the storm, which gradually fades and passes, resolving into a thoughtful reflection on the woes caused by the tempest. The storm returns with building fury but quickly passes, once again settling into stillness. Just before the song's ending, the storm echoes off in the distance, letting us know that our troubles may not yet be over. This is the ninth arrangement in my Contemplative Spirituals for Solo Piano collection.
$4.99 ≈
4.67€
EVERYTHING LIKE BEFORE
EVERYTHING LIKE BEFORE
#
Piano seul
#
Contemporain
#
Monica Bergo
#
#
EVERYTHING LIKE BEFORE
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Moni Bergo
#
SheetMusicPlus
Piano Solo - SKU: A0.1012713 Composed by Monica Bergo. Contemporary. Score. 10 pages. Moni Bergo #5742995. Published by Moni Bergo (A0.1012713). ...
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Piano Solo - SKU: A0.1012713 Composed by Monica Bergo. Contemporary. Score. 10 pages. Moni Bergo #5742995. Published by Moni Bergo (A0.1012713). Music and song composed by me ALL AS BEFORE Tired flower bends the head photos in carved marble sad smell of the past along your tree-lined avenue how much peace in this place where you stand hidden cobwebs on your time and the scent of regret while I touch your beautiful face I ask myself who decided that your time would stop and that for you all would be over I, minstrel of my time, tell a thousand stories chronicles written in pencil real-life stories story now finished my fingers still drive, find notes and then the enchantment to disperse them in the wind there was a king in love, by a bewitched spell, with the madwoman his queen and everything comes back as before there tucked away in a corner There is a pathetic clown Look closer: it’s a little girl and everything comes back as before You clown what would you do? You want to approach the king and then you want to tell him of her polluted heart but him, he does not want to be touched and you have to amuse her smile and do not tire continue your ... dance ... in the void and silence suspended in time for your queen and everything comes back as before before your leap do you want to fly high mixed-up Icarus you have fallen into emptiness the beating of the heart makes too much noise rumbles here within into emptiness and silence no, do not love me, now or ever and hang on till the ultimate pain she'll pressure you and insinuate herself into your mind and end by doing you harm but I invisible to your eyes and I want to hug you, you do not want I would like to tell you what you do not know of me and then on swings of fantasy my hand close to yours we'll soar to the heights where she is not there if you want I will reinvent myself for you And I may please you ,I know but with your eyes you’ve already answered me and hidden I'll go .. The winter does not end the cold seems eternal here the sun dies ,effaces itself and then disappears Once upon a time there was or still is, who knows a minstrel that no longer has a court and he belongs to nobody, and no one will stop him while closing the door ,the king will delete him abracadabra here in my Kingdom nothing caresses, no kiss of goodby my name in history was written in pencil to be able to delete from a faded page the mind has its woodworm and you can not heal it past, present and she who reigns everywhere pages of your life flowing through my fingers for a king, tired and sick, who has not had a happy ending the spell is broken and now the veil has fallen regret makes its way into him and the minstrel would approach him puppet in love ,now disconnected from your wires seek your child and there is nothing like before there is the sunset in your eyes but I'm here by your side a daddy and his little girl and there is nothing like before .... ..... the be.
$5.00 ≈
4.67€
Not So Long Ago
Not So Long Ago
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Ensemble Jazz
#
Jazz
#
John Philips
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Not So Long Ago
#
John Philips Music Service
#
SheetMusicPlus
Jazz Ensemble Jazz Ensemble - SKU: A0.947278 Composed by John Philips. Jazz. Score and parts. 18 pages. John Philips Music Service #3867729. Published b...
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Jazz Ensemble Jazz Ensemble - SKU: A0.947278 Composed by John Philips. Jazz. Score and parts. 18 pages. John Philips Music Service #3867729. Published by John Philips Music Service (A0.947278). This is an alto sax feature ballad. The melody is full and rich and could make you think of Johnny Hodges. First bridge is alto 1 & 2 in unison...with solo alto out front and alto 2 in section it gets a nice echo effect--Last 8 back to alto 1 solo. First half of second chorus has a band within a band over background. Solo part has a few notes past an eighth.Last bridge trombones then alto solo last 8. Ending is very dramatic with some interesting alto work..the very last note is held over the band....like Harlem Nocturne. Not too fast.Don’t let the last note scare you, look at your fingering chart or play it 8va lower. If you want a Maynard or Buddy chart, look elsewhere. This series of charts uses nothing more complicated than eighth notes, are not frantic or screamers, extreme ranges and are hemi-demi-semi-quaver free. They depend on intonation and the players being not intimidated by what he is asked to play. There is no contest to see how high you can go before you need oxygen , how many notes you can play in 9 seconds or before your bell overheats , or how long it takes the audience to cover their earsRelaxed and confident players always play more in tune. Good harmonies, lines and realistic rhythm patterns will produce a good result that will swing and be enjoyed by player and listener alike.
$15.00 ≈
14.02€
Before Too Long
Before Too Long
#
Basse electrique
#
INTERMÉDIAIRE
#
Paul Kelly
#
Jared Plane
#
Before Too Long
#
Jared Plane
#
SheetMusicPlus
Bass Guitar TAB - Level 3 - SKU: A0.1431339 By Paul Kelly. By Paul Kelly. Arranged by Jared Plane. Contemporary,Folk,Pop,Rock,Singer/Songwriter. Score. ...
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Bass Guitar TAB - Level 3 - SKU: A0.1431339 By Paul Kelly. By Paul Kelly. Arranged by Jared Plane. Contemporary,Folk,Pop,Rock,Singer/Songwriter. Score. 4 pages. Jared Plane #1011807. Published by Jared Plane (A0.1431339). Jon Schofield's original bass line as played on the Paul Kelly song, Before Too Long released on the 1986 album, Gossip. This transcription comes with Standard Notation, bass TAB and chord symbols.
$5.00 ≈
4.67€
Long Live Cowgirls
Long Live Cowgirls
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Ian Munsick & Cody Johnson
#
Kyle Pudenz
#
Long Live Cowgirls
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ViolinVagabond Music
#
SheetMusicPlus
Guitar - Level 3 - SKU: A0.1320152 By Ian Munsick & Cody Johnson. By Aby Gutierrez, Ian Munsick, and Phil O'Donnell. Arranged by Kyle Pudenz. 21st Centu...
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Guitar - Level 3 - SKU: A0.1320152 By Ian Munsick & Cody Johnson. By Aby Gutierrez, Ian Munsick, and Phil O'Donnell. Arranged by Kyle Pudenz. 21st Century,Contemporary,Country,Wedding. Chords/Lyrics. 5 pages. ViolinVagabond Music #908681. Published by ViolinVagabond Music (A0.1320152). Here's a chart designed for the last-minute gigging musician, by the last-minute gigging musician. I got called in to play this tune as an instrumental duo at a wedding. Admittedly, it takes a very specific type of wedding for this to be the vibe for the entrance of the bridesmaids, but perhaps you too may find yourself in this same situation. Fortunately I am here to help!Whether you're performing this with a vocalist or as an instrumental solo/ensemble like me, this chart has everything you need. Chords/lyrics version AND an instrumental (treble clef) lead sheet are included, all for the low low price of about 5 bucks. While I was tabbing this out from the perspective of a violinist, the range is pretty universal and should be playable on just about any treble clef instrument. Including the viola... although if you got hired to play solo viola at a wedding or a cocktail hour I have questions.My promises to you if you buy this chart:- THE CHORDS ARE RIGHT. I honestly can't believe there are people that get the chords to songs like these wrong on their arrangements, but here we are. Rest assured I am not one of them.- YOU CAN ACTUALLY READ IT. Finale collisions and terrible interpretations of vocal rhythms need not apply here.- THE MELODY WILL WORK ON YOUR INSTRUMENT. Again, this is not one of those hyper-transcriptions of every little vocal ornament that was sang on the studio version. I purposefully chose where to simplify vs. embellish the melody so that there's room for instrumental interpretation without getting lost in the details.May this humble arranger's last-minute busy work bring joy to your audience and at least an extra 30 minutes of sleep to you by not having to learn this song the night before the gig. Enjoy the hustle, friends.
$4.99 ≈
4.67€
#WeToo
#WeToo
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Chorale SATB
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INTERMÉDIAIRE
#
Sally Whitwell
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#WeToo
#
Sally Whitwell
#
SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.1262362 Composed by Sally Whitwell. 21st Century,Contemporary. Octavo. 17 pages. Sally Whitwell #855402. Publish...
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Choral Choir (SATB) - Level 3 - SKU: A0.1262362 Composed by Sally Whitwell. 21st Century,Contemporary. Octavo. 17 pages. Sally Whitwell #855402. Published by Sally Whitwell (A0.1262362). On the morning of 2 March 2020, I finished writing the first draft of this song. It was the same morning that the New South Wales Rural Fire Service announced that for the first time since July 2019, the state was free of active bush and grass fires.At the time it felt quite euphoric. We’d been through a lot. Little did we know what was coming just a few days from then, when the Covid19 global pandemic reached our shores. It’s a virus that would kill millions across the world, and disable millions more, long term. It forced us, globally, into a kind of reckoning the like of which we had never experienced before. Non pharmaceutical controls like lockdowns, mask mandates, social distancing and ventilation standards were employed to keep us safe from this airborne virus, whilst scientists worked round clock to develop vaccines and treatments.Technically, the declaration of a pandemic is still active, but governments and people have somehow decided for themselves that it is all over. No one takes any precautions any more. Governments have stopped reporting statistics. People who know they are infected are going about their business with no thought for others. Meanwhile, many of the immune-compromised, the disabled, the vulnerable, are unable to safely leave their homes and engage in activities out in the world. I know this, because I am a carer for a vulnerable person.What this whole exercise has taught me is that people in the world are actually much less kind than I thought they were. Humans do not really care for each other. People attack me for wearing a mask, tell me that I’m virtue signalling and that I look ridiculous (as if I care how I look). I’ve asked questions about workplace Covid safety and been informed that it’s “a bit rich†that I’m asking at all, when everything is now safe. A friend’s diagnosed Long Covid symptoms were cruelly minimised or completely dismissed “Oh, it’s not Covid. How old are you? In your forties? It’s your hormones, it’s the menopause.†The fatal combination of sheer selfishness, rampant misinformation and DISinformation continues, whilst people waltz around spreading a deadly virus with no thought for the grief that will undoubtedly ensue.It boils down to this: if we want to continue as a species and to have a planet on which to reside, we have to stop with the Self Care and start with the Community Care. A choir is the perfect instrument for expressing these notions, through the unique power of the massed first person plural. My wish for this piece is that it spurs performer and listener alike into some kind of action. Please consider the effect your actions have on others, and on the planet, and make any changes necessary, however inconvenient or difficult they are. Otherwise, there’s really no point.Sally Whitwell 11 July 2023.
$1.99 ≈
1.86€
The Longest Wait
The Longest Wait
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Piano seul
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INTERMÉDIAIRE
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Gavin Koh
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The Longest Wait
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Gavin Koh
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.874511 Composed by Gavin Koh. Concert,Contemporary,Standards. Score. 8 pages. Gavin Koh #5957797. Published by Gavin Koh ...
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Piano Solo - Level 3 - SKU: A0.874511 Composed by Gavin Koh. Concert,Contemporary,Standards. Score. 8 pages. Gavin Koh #5957797. Published by Gavin Koh (A0.874511). The Longest Wait is specially dedicated to Peggy and Billie Harris. Peggy and Billie Harris were married for 6 weeks when her husband went missing in action over France during WWII. It took almost 60 years before Peggy learned that the town of Les Ventes had been honoring her husband after he heroically crashed his plane while avoiding the village. I had first heard of Peggy's and Billie's story on 26th Aug 2019 and decided to dedicate my next piece to them. I hope you love this piece as much as I enjoyed composing it.Follow the composer at https://www.facebook.com/gavinkoh1970
$3.99 ≈
3.73€
Never Gonna Leave You
Never Gonna Leave You
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Ensemble Jazz
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INTERMÉDIAIRE
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Michael Drake
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Kevin Carberry
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Never Gonna Leave You
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Michael Gene Drake
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.1420957 By Michael Drake. By Michael Drake. Arranged by Kevin Carberry. Blues,Contemporary,Film/TV,Funk,...
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Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.1420957 By Michael Drake. By Michael Drake. Arranged by Kevin Carberry. Blues,Contemporary,Film/TV,Funk,Jazz. 176 pages. Michael Gene Drake #1002366. Published by Michael Gene Drake (A0.1420957). The song “Never Gonna’ Leave You†is from my CD “Welcome To My Island†from 1991.                    LyricsIt’s been a long time since we’ve been there,It’s been a long time since we cared,It’s “  “  “  “  “  “ “  we’ve had each other like before, We’re lookin’ forward to the new time,We’re lookin’ forward to it all,You know we can’t wait any longer, now it’s time to be together.Never gonna leave you….let you go….lose you….give you up….I’m gonna make it showI’ll be home before too long, We’ll be back together,A mountain was our love,  and this will last forever! It’s been a long time since we’ve been there, It’s been a long time since we cared,But now we know it’s all behind us, We’ve got tomorrow we can share. michaeldrakemusic@outlook.com  www.drakemusic.com.
$35.00 ≈
32.72€
Speeding Along
Speeding Along
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Guitare notes et tablatures
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DÉBUTANT
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John Hurford
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John Hurford
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Speeding Along
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John Hurford
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SheetMusicPlus
Guitar - Level 1 - SKU: A0.905306 Composed by John Hurford. Arranged by John Hurford. Instructional,Rock. Guitar Tab. 4 pages. John Hurford #5040721. Pu...
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Guitar - Level 1 - SKU: A0.905306 Composed by John Hurford. Arranged by John Hurford. Instructional,Rock. Guitar Tab. 4 pages. John Hurford #5040721. Published by John Hurford (A0.905306). This piece is predominately a practice piece designed to focus on your picking. Whether you want to play really fast or just wanting to improve your picking ability this piece will help. The piece is set at 160 bpm which is the standard if you want to be a speed player. The idea being that you target 4 notes a beat, this will help with your timing too. I would focus on each exercise at a time before trying to combine them. This piece would suit ANY player as it is a technique practice piece rather than performance. For more products go to https://www.johnhurfordmusic.com/ Mp3 available in listings
$3.99 ≈
3.73€
Before Too Long by Paul Kelly - Piano/Vocal/Guitar
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Piano, Voix et Guitare
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Paul Kelly
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Before Too Long
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Musicnotes
Performed by: Paul Kelly: Before Too Long Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, sc...
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Performed by: Paul Kelly: Before Too Long Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Piano/Vocal/Guitar, instruments: Voice;Piano;Guitar; 3 pages -- Folk~~Rock~~Folk-Rock~~Australian
$5.50 ≈
5.14€
Before Too Long by Paul Kelly - Leadsheet
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Ligne De Mélodie, (Paroles) et Accords
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Paul Kelly
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Before Too Long
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Musicnotes
Performed by: Paul Kelly: Before Too Long Digital Sheetmusic plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyri...
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Performed by: Paul Kelly: Before Too Long Digital Sheetmusic plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Leadsheet;Lyrics/Melody/Chords, instruments: Voice;C Instrument; 2 pages -- Folk-Rock~~Pop Rock~~Australian~~Rock & Roll
$2.95 ≈
2.76€
L'alchimista
L'alchimista
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Piano seul
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Contemporain
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Monica Bergo
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L'alchimista
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Monica Bergo
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SheetMusicPlus
Piano Solo - SKU: A0.976873 Composed by Monica Bergo. Contemporary. Score. 9 pages. Monica Bergo #3243715. Published by Monica Bergo (A0.976873).
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Piano Solo - SKU: A0.976873 Composed by Monica Bergo. Contemporary. Score. 9 pages. Monica Bergo #3243715. Published by Monica Bergo (A0.976873). 2017 Holiday Contest EntryThe alchemist Flames in the dark sparkle voice whispering echoes They say about you Sell useless dreams they say about me that I’m too much frail You are shutting down the day of this city the lights switch on of different realities and time dilates , begins another life It is tacit ritual of a sad tribes You firefly who shine can you tell me where he is? I seek the alchemist , you see yourself from my eyes rimmed on the nothing wide open they are full of fears and resemble your And here it is your circus , you wait me already not much has changed from a lifetime ago you do not, you are not aged a Peter Pan sick , who deduct his sins in the lives of others clown you always have so many , acrobats tired poised always between dream and reality and as a cat, I also see in the dark and over the waste to me slowly and then die the crises, then anxiety , that imperfect woman I do not stand me anymore I who have never been a daughter , your promise of another family and this need for love, that torture and kill me While you brush my long hair , from your hands give off crystals bright lights exploding inside as if by magic now I belong to you snakes tattooed lean on your hips we float in the sea of time how does I exist? always or yesterday I do not remember but only mysteries You adult man and I young girl abracadabra, as all before I tired and old and you still a child us travelers in a bogus time and while I explore the emptiness I have inside Nothing is sweeter than this torment You prepare the potion , the right proportion , the antidote and poison but you put more passion , My animal instinct and add a little 'of gall for those who have hurt me Mix all right , only you know what to do you seals good my heart , can not serve me evil plots to good , with fumes and vapors , ampoules almost full ,please ... let me drink ... But you can not , and I stay here , prisoner of your invisible world We like vampires , breath broken by sighs , arms forward, off eyes alchemist turn off my complaints You like a zombie , ready to sink your teeth ,that fascinates me and scares alchemist dissolve my torments .. but you can not .. and I stay here I'm looking for the courage to live It is being born on the day of this city Milano colored yourself with its activities shorten the shadows , the sun shines and a veil hiding now all his vices and my pace is tired , my face a bit 'more haggard ,emptiness inside me and where are you? I run always and do not know where I go I look back , I stumble and then I fall Slow walk among the tired souls alive but in a state of apparent death rips in the soul and on my clothes I have no tattoos, scars only and as the salt do on the wounds I burn at the memory of bad choices Iron bars are closed . echoes of voices deafen They say about you that you no longer have a tear they say about me that I’m free woman ... Monica Bergo
$3.99 ≈
3.73€
ALCHEMIST
ALCHEMIST
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Piano seul
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Contemporain
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Monica Bergo
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ALCHEMIST
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Moni Bergo
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SheetMusicPlus
Piano Solo - SKU: A0.1012717 Composed by Monica Bergo. Contemporary. Score. 11 pages. Moni Bergo #5743015. Published by Moni Bergo (A0.1012717). ...
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Piano Solo - SKU: A0.1012717 Composed by Monica Bergo. Contemporary. Score. 11 pages. Moni Bergo #5743015. Published by Moni Bergo (A0.1012717). Music and song composed by me The alchemist Flames in the dark sparkle voice whispering echoes They say about you Sell useless dreams they say about me that I’m too much frail You are shutting down the day of this city the lights switch on of different realities and time dilates , begins another life It is tacit ritual of a sad tribes You firefly who shine can you tell me where he is? I seek the alchemist , you see yourself from my eyes rimmed on the nothing wide open they are full of fears and resemble your And here it is your circus , you wait me already not much has changed from a lifetime ago you do not, you are not aged a Peter Pan sick , who deduct his sins in the lives of others clown you always have so many , acrobats tired poised always between dream and reality and as a cat, I also see in the dark and over the waste to me slowly and then die the crises, then anxiety , that imperfect woman I do not stand me anymore I who have never been a daughter , your promise of another family and this need for love, that torture and kill me While you brush my long hair , from your hands give off crystals bright lights exploding inside as if by magic now I belong to you snakes tattooed lean on your hips we float in the sea of time how does I exist? always or yesterday I do not remember but only mysteries You adult man and I young girl abracadabra, as all before I tired and old and you still a child us travelers in a bogus time and while I explore the emptiness I have inside Nothing is sweeter than this torment You prepare the potion , the right proportion , the antidote and poison but you put more passion , My animal instinct and add a little 'of gall for those who have hurt me Mix all right , only you know what to do you seals good my heart , can not serve me evil plots to good , with fumes and vapors , ampoules almost full ,please ... let me drink ... But you can not , and I stay here , prisoner of your invisible world It is being born on the day of this city Milano colored yourself with its activities shorten the shadows , the sun shines and a veil hiding now all his vices and my pace is tired , my face a bit 'more haggard ,emptiness inside me and where are you? I run always and do not know where I go I look back , I stumble and then I fall Slow walk among the tired souls alive but in a state of apparent death rips in the soul and on my clothes I have no tattoos, scars only and as the salt do on the wounds I burn at the memory of bad choices Iron bars are closed . echoes of voices deafen They say about you that you no longer have a tear they say about me that I’m free woman ... Monica Bergo
$5.00 ≈
4.67€
Old Comrades
Old Comrades
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Carl Teike
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James K
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Old Comrades
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James K. Taylor
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1083914 Composed by Carl Teike. Arranged by James K. Taylor. Contest,Festival,Folk,Instructional,Standards,Traditional....
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Concert Band - Level 4 - SKU: A0.1083914 Composed by Carl Teike. Arranged by James K. Taylor. Contest,Festival,Folk,Instructional,Standards,Traditional. Score and parts. 86 pages. James K. Taylor #688119. Published by James K. Taylor (A0.1083914). What Stars and Stripes is to the USA, Old Comrades is to Europe. This great old march written before WW1 is not very playable by the average school band. I made a more playable arrangement of it by starting in Eb and going to Ab at the trio instead of the original Db to Gb. I wrote a new countermelody to the first strain that was not so high, took out the grace notes and removed many of the repeats. It is still almost too long, but it is now very playable. The key is the ability to play the dotted 8th 16th and not triplets. Make this very crisp, marcato and separated. Enjoy.
$40.00 ≈
37.40€
Count Your Blessings Instead Of Sheep
Count Your Blessings Instead Of Sheep
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Jazz combo
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INTERMÉDIAIRE/AVANCÉ
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Bing Crosby and Rosemary Cloon
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Aaron Hettinga
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Count Your Blessings Instead O
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Aaron Hettinga
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SheetMusicPlus
Jazz Combo - Level 4 - SKU: A0.781983 By Bing Crosby and Rosemary Clooney. By Irving Berlin. Arranged by Aaron Hettinga. Christmas,Contemporary,Holiday,...
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Jazz Combo - Level 4 - SKU: A0.781983 By Bing Crosby and Rosemary Clooney. By Irving Berlin. Arranged by Aaron Hettinga. Christmas,Contemporary,Holiday,Jazz,Standards. Score and parts. 10 pages. Aaron Hettinga #6027125. Published by Aaron Hettinga (A0.781983). This lesser known holiday-season standard by the great Irving Berlin is available here for 4 Trombones and Rhythm section. This ballad had its debut in the classic film White Christmas with Bing Crosby and Rosemary Clooney.This arrangement was written as a Head chart where, after the initial rundown of the melody, the form is repeated for as many soloists as are desired before a final repeat playing the tune and proceeding to the second ending. Chord changes are provided in all parts for flexibility in soloist selection. For the most part, the ensemble parts are accessible to a broad range of playing abilities, but the top part is the greater challenge for range and melodic lyricism.Performance options: This ballad runs the risk of dragging along so slowly that it feels interminable. Even at a moderately slow tempo, it’s important to keep things moving. If it feels that the solo section takes too long, it also works well to bring the ensemble back at the B section of the melody (meas. 21) for a briefer wrap up.
$24.99 ≈
23.36€
Release
Release
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Bill Taylor music, Bill Taylor
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Bill Taylor
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Release
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William R Taylor
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SheetMusicPlus
Alto Voice,Vocal Solo - Level 3 - SKU: A0.1022084 Composed by Bill Taylor music, Bill Taylor with Jaye Alison Moscariello, and Lyrics. Arranged by Bill ...
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Alto Voice,Vocal Solo - Level 3 - SKU: A0.1022084 Composed by Bill Taylor music, Bill Taylor with Jaye Alison Moscariello, and Lyrics. Arranged by Bill Taylor. Broadway,Contemporary,Jazz. 3 pages. William R Taylor #6475595. Published by William R Taylor (A0.1022084). Release ©2006, lyrics©2010. Bill’s mom Priscilla Alden Taylor (nee Rowe) passed on at age 90 in January, 2010. This piece was one she loved, but the words did not come until 2 months after her death and 2 days before Jaye and I were to perform Mom’s song Every Time We Meet at the Anderson Valley Variety Show. We sung it as best we could with so little practice time and in a key way too high. This version is transposed down a fifth. Listeners with parents who have gone on, and those who haven’t, may find some familiar themes here. If inspired, support your local elder and/or hospice organizations. I love my children to be happy. What’s new with you Mom? Charlotte’s got a bakery. Hannah is teaching, playing in San Jose. Tom and Jeanne expecting, he’s flying a new plane. Lucy’s kids are doing well, I’m seeing Uncle Jay. My life is going on in a most pleasant way. When are you coming here to visit, it’s been way too long? When we were children everything was made into a song. Father’s jazzy flute, brother’s boogie woogie She left Julliard to help her family Factory in the war, music she wrote A job at Schirmers she met my Dad had 5 kids Trips to Vermont and Jersey and New York Kept house, school lunch, kind words, praising Now she is running and swimming Dancing and flying, she’s singing All new adventures, new worlds to learn and know Earth body left behind, all life is love and flow Walker made her so tired, shuffling oh so slow She learned to ask for help from all of us below Gathered her children all around her at her time to go Now she’s with her God.
$2.99 ≈
2.80€
Cordolium (Cut Version)
Cordolium (Cut Version)
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Orchestre à Cordes
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AVANCÉ
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Ashlyn Graham
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Cordolium
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Ashlyn Graham
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SheetMusicPlus
String Orchestra - Level 5 - SKU: A0.1408288 Composed by Ashlyn Graham. 21st Century,Chamber,Classical,Contemporary,Instructional. 17 pages. Ashlyn Grah...
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String Orchestra - Level 5 - SKU: A0.1408288 Composed by Ashlyn Graham. 21st Century,Chamber,Classical,Contemporary,Instructional. 17 pages. Ashlyn Graham #990872. Published by Ashlyn Graham (A0.1408288). This is a shortened version of my original piece Cordolium. The original description is as follows: Cordolium, meaning heartfelt grief; sorrow of the heart, heartache. I wrote this piece with one of my favorite pieces in mind: Barber's Adagio for Strings. I wanted to challenge myself to convey emotion like Barber did, and to write a piece with a lot of emotional potential. Cordolium travels through the stages of grief, allowing the musicans to express denial, agitation, and depression, before it concludes with a dejected acceptance of all the sorrow that came before. I realized the original is too long especially for advanced HS groups so I decided to create this cut version to accomodate. This shortened version forced me to cut some transitions and some beautiful sections out, but it still contains the main motifs and allows all the expression in a shorter time. It also includes more bowing and a few more dynamics to help give student groups more directions. The original work can be found here: Cordolium
$45.00 ≈
42.07€
A Handfull of Quietness
A Handfull of Quietness
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Piano seul
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INTERMÉDIAIRE
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Kathleen Ryan
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Kathleen Ryan
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A Handfull of Quietness
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Indigo Mesa Music LLC
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1120827 By Kathleen Ryan. By Kathleen Ryan. Arranged by Kathleen Ryan. Classical,Contemporary,New Age,Spiritual. Score. 3...
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Piano Solo - Level 3 - SKU: A0.1120827 By Kathleen Ryan. By Kathleen Ryan. Arranged by Kathleen Ryan. Classical,Contemporary,New Age,Spiritual. Score. 3 pages. Indigo Mesa Music LLC #722039. Published by Indigo Mesa Music LLC (A0.1120827). Kathleen's notes: I had not originally intended to have a title track for the album A Handfull of Quietness, but I am so glad to have been given this piece: to hear, to play, to share. Not too long before I was going to record the CD, my friend Phyllis commented that it needed a title track. I felt the music was all complete as it was; “a handfull of quietness†was the title of the CD, it didn’t need to be the title of the song. As is so often the case, Phyllis was right. About 10 days or so before my recording sessions, this music came to me in one complete thought. I knew immediately that it was the anticipated title track. Lyrical, calm, soothing. Suitable for use in church.
$5.25 ≈
4.91€
Falling Apart at the Seams
Falling Apart at the Seams
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Piano, Voix
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INTERMÉDIAIRE
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The Song Factory Feat and Wole
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Falling Apart at the Seams
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Songs of Humanity
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1232111 By The Song Factory Feat and Wolei Sway. By Julie Carter. 21st Century,Pop,Soul. Score. 6 pages. Songs of ...
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Piano,Vocal,Voice - Level 3 - SKU: A0.1232111 By The Song Factory Feat and Wolei Sway. By Julie Carter. 21st Century,Pop,Soul. Score. 6 pages. Songs of Humanity #827789. Published by Songs of Humanity (A0.1232111). This ballad is about a female whose life is literally falling apart before her ex-lover's eyes. He desperately wants to help her, but she is stubborn and ashamed of how she has descended to the depths since she split with her man. Despite his plea that he wants to see her happy again she shuns him. At the end of the song, the ex lover warns her that if she leaves it too long, I won't be around anymore.
$1.99 ≈
1.86€
COLOSSEUM, Mvt.III from Letters from a Poet in Italy
COLOSSEUM, Mvt.III from Letters from a Poet in Italy
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Contemporain
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Digital Recording
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Original composition
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COLOSSEUM, Mvt.III from Letter
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Francis Osentowski
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SheetMusicPlus
Choral Piano,Vocal,Voice - Level 4 - SKU: A0.953860 By Digital Recording. By Francis Osentowski, DMA University of North Texas and Music, Francis Osento...
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Choral Piano,Vocal,Voice - Level 4 - SKU: A0.953860 By Digital Recording. By Francis Osentowski, DMA University of North Texas and Music, Francis Osentowski Lyrics, Jerry McElveen. Arranged by Original composition. Contemporary. Score. 6 pages. Francis Osentowski #6097441. Published by Francis Osentowski (A0.953860).  LETTERS FROM A POET IN ITALY. Mvt. III COLOSSEUM This ethereal song combines a mystical setting recalling the deaths of thousands in the Roman Colosseum. While visiting the modern-day site, Jerry McElveen had visions of the screaming crowds while gladiators and others were killed as entertainment. He was upset to see the current graffiti marring the stone walls of the structure.  The piano score and vocal looks difficult...but several performers have not found it to be problematic. It works as a more modern setup for the jazzy closer, DAVID Mvt IV. If the piano intro to Colosseum, seems to lag before the soprano enters...take the second ending on the intro... that will avoid the star singer having to wait too long! All four songs in the Letters from a Poet in Italy cycle are published in this web site. 1. Eighteen in Italy 2. Caregiver 3. Colosseum 4. David.
$4.99 ≈
4.67€
AEROS
AEROS
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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AVANCÉ
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Contemporain
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West Coast Wind Quintet
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AEROS
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Thinkling Music
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 5 - SKU: A0.1145980 By West Coast Wind Quintet. By Ron Levy. 20th Century,Classical,Contemporary. 28 pages. T...
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Woodwind Ensemble,Woodwind Quintet - Level 5 - SKU: A0.1145980 By West Coast Wind Quintet. By Ron Levy. 20th Century,Classical,Contemporary. 28 pages. Thinkling Music #746220. Published by Thinkling Music (A0.1145980).      AEROS is a one-movement piece about flying.      The composition begins with Latin dance rhythms and a clearly defined melodic motif. The threads gradually build to a tumble of ecstatic exuberance, engaging but short-lived. The remainder of the piece is a return to the mundane, ultimately settling on a plateau of stability which the listener senses to be merely a steppingstone, a pause before resuming the journey into an uncertain future …      Structurally, the work is a single movement built around an Afro-Cuban montuno pattern, with ostinati divided among the instruments. Stylistically it could be considered as “moody minimalist with a melodyâ€. Or if that is too long and unwieldy, then perhaps just “MMMMUSIC!â€Â      First performance in Laguna Beach, California on September 21st, 2021, by West Coast Wind Quintet, as part of the Sunset Serenades series. The outdoor venue, a small amphitheater in beautiful Heisler Park, high on a bluff overlooking the Pacific Ocean, was the perfect aerie from which to bring this piece into the world.
$15.00 ≈
14.02€
River Music
River Music
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Contemporain
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Sarah Hersh
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River Music
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Burbury Lane Music
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SheetMusicPlus
Small Ensemble B-Flat Clarinet,Bass Clarinet - Level 4 - SKU: A0.1028052 Composed by Sarah Hersh. 20th Century,Contemporary. Score and parts. 59 pages. ...
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Small Ensemble B-Flat Clarinet,Bass Clarinet - Level 4 - SKU: A0.1028052 Composed by Sarah Hersh. 20th Century,Contemporary. Score and parts. 59 pages. Burbury Lane Music #3368591. Published by Burbury Lane Music (A0.1028052). River Music is a fun and accessible piece that has received much positive feedback in the clarinet world and has been performed many times, including at the International Clarinet Association's ClarinetFest. It is an approximately 8 minute piece for two Bb clarinets and bass clarinet that would be equally at home on an environmental-themed concert or any other type of program. It is a relatively advanced piece but has been performed by high school students. River Music was written for Clarinets for Conservation.Program Note: River Music was inspired by my time one summer spent on the Chattahoochee River and at the Chattahoochee Nature Center near Atlanta, Georgia. I have always had a connection to bodies of water, having spent many summers and weekends at the lake by my grandparents’ house in New York. While sometimes I feel like an outsider as a New Yorker living in the South, as soon as I got on the river, canoeing down the Chattahoochee, I felt at home again. Something about the river reminds me of my childhood on Lake Peekskill, and River Music was partially inspired by that connection.Once I started writing the piece, it took on a life of its own, as water and nature (and composing) often does. One reason I’ve always felt strongly about environmentalism and protecting our natural environment is that all of it – the trees, the earth, the rivers, the lakes – has been here long before we came along and started messing it up, and it will (hopefully) be here long after we’re gone, as long as we make sure to protect these natural spaces and wilderness areas. I often think about how much trees have seen, and as I wrote this piece I started thinking about how much the river has seen too. I hear stories in River Music, and to me it’s the river telling us some, though certainly nowhere near all, of its stories.Perhaps River Music will take you, the listener, on a journey down the river-not just through space, but through time. You might hear some of the same stories I hear. Or you may not. Part of the beauty of writing a piece inspired by a river is that I hope you hear in it whatever the river means to you.Note: The sheet music includes a score, regular set of parts, and a bonus set of parts that include a partial score underneath the main part.The composer is a member of ASCAP and may be reached at www.sarahhersh.com or sarahhershcomposer@gmail.com.
$15.99 ≈
14.95€
Requiem
Requiem
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Orchestre de chambre
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es war...
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99 ≈
52.35€
Wind Quintet - One Rule
Wind Quintet - One Rule
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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AVANCÉ
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Mike Lyons
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Wind Quintet - One Rule
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Lyons Music Services
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 5 - SKU: A0.767553 Composed by Mike Lyons. Contemporary,Standards. 56 pages. Lyons Music Services #5827839. P...
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Woodwind Ensemble,Woodwind Quintet - Level 5 - SKU: A0.767553 Composed by Mike Lyons. Contemporary,Standards. 56 pages. Lyons Music Services #5827839. Published by Lyons Music Services (A0.767553). This brand-new piece for wind quintet came about through the coronavirus lockdown and my observations of our UK politicians and how they behaved (One rule for them...) In terms of the music, each line is related to other lines through patterns of 5, 7 or 9 beats (or half beats). Each repetition of the pattern starts with all the instruments in that particular group playing on the first beat. As the music progresses and develops, motifs appear out of the combinations of these beats with each other. Gradually, these patterns and motifs develop melodies which then form the backbone of the piece. The first section (I hesitate to use the term movement) labelled Plotting develops a character of wiliness. It represents, in its twisting strands, the plotting of politicians to aggrandise themselves. The bottom 3 parts form an 'undercurrent' to the music as the 5,7 and 9 beat counts overlap and process. The flute and oboe, meanwhile, generate the first melodic strand - which becomes important in the later movements. The opening quaver patterns are passed around the whole ensemble, keeping the rhythmic pulse going. It slips between the anchoring notes of the lower 3 parts, as well as being essential to the development of the flute and oboe melodic material and stopping the bassoon part being too boring! The long winding, rising and falling line on the oboe and flute is deliberately ambiguous in its tonality, leading one to feel it strives upwards, but then loses its way. The frequent dissonances as this line crosses itself in the other parts represents the effect of all the plotting on ordinary people. Before letter B, there are a couple of brief hints of Dies Irae, but I didn’t want that idea to dominate too much. After B and into C, we get the day-to-day chitchat in Westminster, with interjections from many voices proclaiming their message, trying to persuade their colleagues and just leading to confusion and tonal extremism. From letter C to the end of the section is an extended accel/stretto as the discussion gets more heated. Section 2 is titled Scheming. The tempo is faster than the previous section, but the pace is slower. More motives have formed and developed organically out of the rhythm and pitch patterns. The 5/7/9 cross rhythms are now at double speed, giving a fiercer drive to the music. The bassoon and horn, for now, adhere to the longer pulse of the first section, providing something of a harmonic underpinning. At bar 101, the long but now slightly broken narrative line of the first movement returns in modified form. This now provides a backdrop for the rhythmic bartering and ‘back and forth’ of the political day. The section reaches a climax as the political bickering becomes rowdier. Section 3 begins in a relatively happy mood. The bassoon has a jolly capering little motif, later taken up by other members of the ensemble. There are hints of English folk tune-ness in the resulting conversation, perhaps emphasised by the overlays of this pleasant melody from letter D. Letter E is a ‘turning point’ as all the rhythmic pulses finally align again. This is the first time all five parts have played on the same beat since the opening. At Letter G, a pulsing drone is added to the mix, using the quaver version of the pulse. Perhaps representing the soring of politicians. There is a parallel drone added at letter H, these drones use the 5 (bassoon) and 7 (horn) beat pulses. The result is a solid underpinning of the rhythmic and melodic ideas in the upper 3 parts. After letter I comes a reprise of the spritely bassoon motif with dissonant harmonies as the discussion becomes more heated. The little semiquaver figures have the rhythm Mr. Speaker as members of the house shout for attention. In the repeat bars, we hear the Speaker shout Order! Letter J provides an altered reprise of the begi.
$35.00 ≈
32.72€
Mysterious Moment for alto flute and string trio
Mysterious Moment for alto flute and string trio
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Trio à Cordes: violon, alto, violoncelle
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INTERMÉDIAIRE
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Contemporain
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David Warin Solomons
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Mysterious Moment for alto flu
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David Warin Solomons
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SheetMusicPlus
String Ensemble,String Trio - Level 3 - SKU: A0.576736 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Wari...
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String Ensemble,String Trio - Level 3 - SKU: A0.576736 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #119391. Published by David Warin Solomons (A0.576736). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.
$8.00 ≈
7.48€
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Before Too Long
