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Vous avez sélectionné:
He Can't Dance
Partitions à imprimer
72 partitions trouvées
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Jesus He Knows Me
Jesus He Knows Me
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Quatuor à cordes: 2 violons, alto, violoncelle
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FACILE
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Rock
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Genesis
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Eric Stern
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Jesus He Knows Me
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Nerds of Paradise Music
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SheetMusicPlus
String Quartet String Quartet - Level 2 - SKU: A0.916885 By Genesis. By Mike Rutherford, Phil Collins, and Tony Banks. Arranged by Eric Stern. Rock. Sco...
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String Quartet String Quartet - Level 2 - SKU: A0.916885 By Genesis. By Mike Rutherford, Phil Collins, and Tony Banks. Arranged by Eric Stern. Rock. Score and parts. 23 pages. Nerds of Paradise Music #6009717. Published by Nerds of Paradise Music (A0.916885). Jesus He Knows Me is the second track on the 1991 Genesis album We Can't Dance and its fourth single. The song is a satire of televangelism, released in a period when several televangelists such as Jimmy Swaggart, Robert Tilton and Jim Bakker were under investigation for promising financial success to their listeners, provided they sent money to them. The song reached No. 10 in Canada, No. 20 in the United Kingdom and No. 23 in the United States.
$18.99 ≈
17.13€
Cannoli Man 13 Trumpets with Soloist
Cannoli Man 13 Trumpets with Soloist
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Jazz combo
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INTERMÉDIAIRE
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Michael Drake
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Kevin Carberry
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Cannoli Man 13 Trumpets with S
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Michael Gene Drake
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SheetMusicPlus
Jazz Combo - Level 3 - SKU: A0.1348392 By Michael Drake. By Michael Drake. Arranged by Kevin Carberry. Film/TV,Jazz,Latin. 121 pages. Michael Gene Drake...
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Jazz Combo - Level 3 - SKU: A0.1348392 By Michael Drake. By Michael Drake. Arranged by Kevin Carberry. Film/TV,Jazz,Latin. 121 pages. Michael Gene Drake #933167. Published by Michael Gene Drake (A0.1348392). Here is the sheet music from my song “The Cannoli Man†which is from my CD “No Tan Linesâ€. This version was re-purposed from a big band version of mine for a Trumpet solo with 13 trumpets. The 4 Trumpets, 4 Trombones and 5 Saxes were re-voiced into 13 Trumpets with the original rhythm section. The lyrics from the original CD are: We know a man who moves from bar to bar,he holds above him a tray of sweets to eat, when he walks in a little show he does,he sings and dances of food he has to sell, you can’t deny this Brady street type of guy,he jumps and spins as happy as can be, The East side is where we all belong, when this man dances, we want to dance a-long.The Cannoli man he dances on his feet most every night,He tries to sell his goods to everyone who is in sightCannoli man he dances with his sweets up in the airHe spins a-round sing-in’ I got Cannoli and pepperoni Come on and dance Cannoli Man michaeldrakemusic@outlook.com   www.drakemusic.com.
$35.00 ≈
31.57€
Cannoli Man
Cannoli Man
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Ensemble Jazz
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FACILE
#
Michael Drake
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Kevin Carberry
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Cannoli Man
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Michael Gene Drake
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 2 - SKU: A0.1350173 By Michael Drake. By Michael Drake. Arranged by Kevin Carberry. Broadway,Film/TV,Jazz,Latin,Musi...
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Jazz Ensemble Jazz Ensemble - Level 2 - SKU: A0.1350173 By Michael Drake. By Michael Drake. Arranged by Kevin Carberry. Broadway,Film/TV,Jazz,Latin,Musical/Show,Singer/Songwriter. 164 pages. Michael Gene Drake #934954. Published by Michael Gene Drake (A0.1350173). This is the Big Band versionCannoli ManWe know a man who moves from bar to bar,he holds above him a tray of sweets to eat, when he walks in a little show he does,he sings and dances of food he has to sell, you can’t deny this Brady street type of guy,he jumps and spins as happy as can be, The East side is where we all belong, when this man dances, we want to dance a-long.The Cannoli man he dances on his feet most every night,He tries to sell his goods to everyone who is in sightCannoli man he dances with his sweets up in the airHe spins a-round sing-in’ I got Cannoli and pepperoni Come on and dance Cannoli Man michaeldrakemusic@outlook.com   www.drakemusic.com.
$35.00 ≈
31.57€
Don't Forget To Remember
Don't Forget To Remember
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Bee Gees
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Peet du Toit
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Don't Forget To Remember
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Peet du Toit
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SheetMusicPlus
Small Ensemble Drum Set,Horn,Trombone,Tuba - Level 2 - SKU: A0.802649 By Bee Gees. By Barry Gibb and Maurice Gibb. Arranged by Peet du Toit. Dance,Disco...
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Small Ensemble Drum Set,Horn,Trombone,Tuba - Level 2 - SKU: A0.802649 By Bee Gees. By Barry Gibb and Maurice Gibb. Arranged by Peet du Toit. Dance,Disco. Score and parts. 30 pages. Peet du Toit #6197719. Published by Peet du Toit (A0.802649). Don't Forget to Remember also called Don't Forget to Remember Me is a country ballad recorded by the Bee Gees, from the album Cucumber Castle. The song was written by Barry and Maurice Gibb. It was produced by the band with Robert Stigwood.The song features Barry Gibb singing at a lower pitch than usual. The song's lyrics follow the country-song tradition of romantic laments with its tearful first-person lyrics about a man haunted by a failed love affair he can't put out of his mind. Its melody matches the yearning quality of the lyrics, especially on the chorus, which underpins the forlorn wish Don't forget to remember me/And the love that used to be with glorious runs of ascending notes.The ascending notes in this version are the high-pitched notes for the French horn, the cries of an ex-lover. Enjoy!
$19.00 ≈
17.14€
LILLY'S DANCE (THE TUMBLER)
LILLY'S DANCE (THE TUMBLER)
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Saxophone Tenor et Piano
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INTERMÉDIAIRE/AVANCÉ
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Joe Procopio
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the vocalist/bassist I
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LILLY'S DANCE
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JoeCopio Music LLC
#
SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - SKU: A0.876447 Composed by Joe Proco...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - SKU: A0.876447 Composed by Joe Procopio. Dance,Jazz,Pop. Score and parts. 24 pages. JoeCopio Music LLC #53323. Published by JoeCopio Music LLC (A0.876447). LILLY’S DANCE (THE TUMBLER) Back to School 2015 From PAPA’S FAMOUS DANCES by Joe Procopio LILLY’S DANCE (THE TUMBLER) is a delightful Latin flavored dance that was inspired by Little Miss Lilly who could tumble on command all by her big self when she was only 15 months old. When I first saw her dance and tumble at such a young age, I was so moved that I wrote this piece to celebrate her ability to amaze everyone with her dancing and tumbling. LILLY’S DANCE (THE TUMBLER) was originally written and arranged for a small ensemble, band, stage band or combo with flexible instrumentation so that it may be performed with only two Saxophones (Alto Sax I and Alto Sax II) and a standard backup with Piano/Keyboard, Guitar, Bass and Drums. In addition, any combo may be augmented by adding any or all of the parts included for Flute, Clarinet, Tenor Sax, and Baritone Sax. This flexible or variable instrumentation of LILLY’S DANCE (THE TUMBLER) makes it unique and perfect for schools and colleges that do not have a permanent roster of music students entering their music programs annually. It also eases the burden for Directors searching for good music to perform for groups with ever changing numbers of music students. What’s more, LILLY’S DANCE (THE TUMBLER) has a section open for solos to enable the ensemble to feature players who can improvise well enhancing not only the group’s enjoyment but also everyone’s listening pleasure. This piece is composed in the same style of the other dances in the set - all of which have been performed by College and High School students in many major concert events along the East Coast with great success. It is published separately and in a set entitled PAPA’S FAMOUS DANCES PART 1 from the sets PAPA’S FAMOUS DANCES Part I and Part II. Each Part contains 3 Dances. I have adapted the audio here for synthesizer so that it may be previewed. It is one of 6 works named and dedicated to each of my 6 Grandchildren: Lilly, Mary, Lydia, Emma, Joey and Wilson. Instrumentation for LILLY’S DANCE (THE TUMBLER) includes SCORE and parts for: ALTO SAX I ALTO SAX II TENOR SAX BARITONE SAX FLUTE CLARINET PIANO/KEYBOARD - GUITAR - BASS - DRUMS VITA Joe Procopio is a master musician and teacher with proven success for over 50 years. His purpose in teaching, writing music and books is to make his successful method of making musicians available to as many people as possible around the world. While I cannot guarantee that my methods will make you a great musician as they have for many others, says Procopio, I can say that they are designed to magnify your love of music - and that I guarantee each will enrich and enhance your life. People from all over the world have written to me to tell me so. As a Master Musician , Joe Procopio is an ASCAP Artist, composer, conductor and professional musician. He was the Lead Reed for many of the nation's top recording artists including: The Temptations, Steve and Eydie Gorme, Aretha Franklin, Tony Bennett, Lawrence Welk, Frankie Avalon, Frankie Laine, Jack Jones, Kathryn Grayson, Carmel Quinn, Don Cornell, Bobby Rydell, Vic Damone, Rodney Dangerfield, Foster Brooks, The Vagabonds, The Ritz Brothers, Sammy Cohn, Jimmy Van Heusen, Tiny Tim, Al Martino, Petula Clark, Wayne Newton, Pat Cooper, The Four Tops, The Spinners, etc. Lead Alto Sax Jimmy Dorsey Orchestra and the Palace Theater Myrtle Beach, SC He is listed in The Encyclopedia of Saxophone Music Londeix, Roncorp Pub. He is the teacher of Guitarist T. Maxwell heard in TV’s Magnum P.I., The Rockford Files and Kojak ; the vocalist/bassist I. Cattell of Brit Floyd (Pink Floyd) and New York Tenor Saxophonist Paul Carlon to mention a few. His accomplishments as a teacher include: The Miles Clark Endowed Chair, Music, College of the Albemarle, Elizabeth City, NC, Chair Music Depart.
$4.99 ≈
4.50€
I Won't Dance
I Won't Dance
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Dorothy Fields, Jerome Kern, J
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Alexander L'Estrange
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I Won't Dance
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Alexander L'Estrange
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SheetMusicPlus
Choral Choir (Mixed) - Level 4 - SKU: A0.877462 Composed by Dorothy Fields, Jerome Kern, Jimmy McHugh, Oscar Hammerstein, and Otto Harbach. Arranged by ...
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Choral Choir (Mixed) - Level 4 - SKU: A0.877462 Composed by Dorothy Fields, Jerome Kern, Jimmy McHugh, Oscar Hammerstein, and Otto Harbach. Arranged by Alexander L'Estrange. A Cappella. Octavo. 18 pages. Alexander L'Estrange #6745463. Published by Alexander L'Estrange (A0.877462). Alexander L’Estrange is a great and innovative arranger, surely one of the best we have around. - Music Teacher Magazine Alexander L’Estrange’s delicious arrangements go naughtily off-piste and the King’s Singers Great American Songbook CD is superb. - The Times Alexander L’Estrange and Joanna Forbes L’Estrange are prolific composers and arrangers of choral music, both individually and as a partnership. Receiving commissions from choral societies, schools, chamber choirs, church choirs and a cappella groups, their music is sung and enjoyed throughout the world. Alexander is regularly commissioned to write arrangements for world-class vocal groups including Voces8, The Queen’s Six, Amarcord and The King’s Singers, for whom he wrote and produced the Great American Songbook album. Joanna began writing music and lyrics during her tenure as soprano and Musical Director of the five-time Grammy® Award-winning vocal group The Swingles. All of Alexander and Joanna’s compositions and arrangements come with excellent learning resources for choirs including part-learning tracks and backing tracks, professionally recorded by the couple in their home studio #OldStableStudios. They also offer expert coaching for choirs, both in person and online. Their popular workshop You can sing…but can you swing?! gives choirs the tools to perform pop and jazz arrangements with greater style and confidence. CONTACT Website www.lestrangemusic.com Enquiries info@lestrangemusic.com To be the first to hear news from L’Estrange Music, follow them on facebook, twitter and instagram This arrangement features classy jazz a cappella writing that will suit experienced chamber choirs, school and high school groups, with a 6-part SSATBarB scoring. The song is a classic jazz standard by Jerome Kern and was commissioned by The King's Singers, who recorded it on their album of Alexander L'Estrange's close-harmony arrangements Great American Songbook https://www.kingssingers.com/products/great-american-songbook/. N.B. This is a higher-key adaptation of Alexander L'Estrange's original arrangement for the King's Singers, with mixed-voice SSATBarB choirs and a cappella groups in mind.
$4.50 ≈
4.06€
PAPA'S FAMOUS DANCES PART 2
PAPA'S FAMOUS DANCES PART 2
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Saxophone Tenor et Piano
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INTERMÉDIAIRE/AVANCÉ
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Joe Procopio
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the vocalist/bassist I
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PAPA'S FAMOUS DANCES PART 2
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JoeCopio Music LLC
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - SKU: A0.876455 Composed by Joe Proco...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Clarinet,Drums,Flute,Piano,Tenor Saxophone - Level 4 - SKU: A0.876455 Composed by Joe Procopio. Dance,Jazz,Pop. Score and parts. 82 pages. JoeCopio Music LLC #53355. Published by JoeCopio Music LLC (A0.876455). PAPA’S FAMOUS DANCES - PART 2 Back to School 2015 From A Collection Of Six Dances As Combo Music EMMA’S BLUES JOEY’S READY WILSON’S BOOGIE WOOGIE PAPA’S FAMOUS DANCES PART 2 is a collection of 3 Dances as combo music composed and arranged by Joe Procopio for a small ensemble, band, stage band or combo with flexible instrumentation. These works may be performed with only two Saxes (Alto Sax I and Alto Sax II) and a standard backup with Piano/Keyboard, Guitar, Bass and Drums. In addition, any combo may be augmented by adding any or all of the parts included for Flute, Clarinet, Tenor Sax, and Baritone Sax. This flexible or variable instrumentation of the dances makes them unique and perfect for schools and colleges that do not have a permanent roster of music students entering their music programs annually. It also eases the burden for Directors searching for good music to perform for groups with ever changing numbers of music students. What’s more, each dance has a section open for solos to enable the ensemble to feature players who can improvise well enhancing not only the group’s enjoyment but also everyone’s listening pleasure. These works have been performed by College and High School students in many major concert events along the East Coast with great success. They are published separately and in sets PAPA’S FAMOUS DANCES Part 1 and PAPA’S FAMOUS DANCES Part 2 with each Part containing 3 Dances. I have adapted the audio here for synthesizer so that they may be previewed. The works are named and dedicated to each of my 6 Grandchildren: Lilly, Mary, Lydia, Emma, Joey and Wilson. VITA Joe Procopio is a master musician and teacher with proven success for over 50 years. His purpose in teaching, writing music and books is to make his successful method of making musicians available to as many people as possible around the world. While I cannot guarantee that my methods will make you a great musician as they have for many others, says Procopio, I can say that they are designed to magnify your love of music - and that I guarantee each will enrich and enhance your life. People from all over the world have written to me to tell me so. As a Master Musician , Joe Procopio is an ASCAP Artist, composer, conductor and professional musician. He was the Lead Reed for many of the nation's top recording artists including: The Temptations, Steve and Eydie Gorme, Aretha Franklin, Tony Bennett, Lawrence Welk, Frankie Avalon, Frankie Laine, Jack Jones, Kathryn Grayson, Carmel Quinn, Don Cornell, Bobby Rydell, Vic Damone, Rodney Dangerfield, Foster Brooks, The Vagabonds, The Ritz Brothers, Sammy Cohn, Jimmy Van Heusen, Tiny Tim, Al Martino, Petula Clark, Wayne Newton, Pat Cooper, The Four Tops, The Spinners, etc. Lead Alto Sax Jimmy Dorsey Orchestra and the Palace Theater Myrtle Beach, SC He is listed in The Encyclopedia of Saxophone Music Londeix, Roncorp Pub. He is the teacher of Guitarist T. Maxwell heard in TV’s Magnum P.I., The Rockford Files and Kojak ; the vocalist/bassist I. Cattell of Brit Floyd (Pink Floyd) and New York Tenor Saxophonist Paul Carlon to mention a few. His accomplishments as a teacher include: The Miles Clark Endowed Chair, Music, College of the Albemarle, Elizabeth City, NC, Chair Music Department Cazenovia Central School NY Director Of Instrumental Music Chapel Hill/Carrboro City Schools NC Adjunct Professor Applied Music Cazenovia College, NY.
$9.99 ≈
9.01€
He Can't Dance
He Can't Dance
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Ligne De Mélodie, (Paroles) et Accords
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INTERMÉDIAIRE
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Rick Moose
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Richard Mousseau
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He Can't Dance
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Moose Hide Music Publishing
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SheetMusicPlus
C Instrument - Level 3 - SKU: A0.1006350 By Rick Moose. By Richard Mousseau. Arranged by Richard Mousseau. Contemporary,Pop,Rock. Lead Sheet / Fake Book...
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C Instrument - Level 3 - SKU: A0.1006350 By Rick Moose. By Richard Mousseau. Arranged by Richard Mousseau. Contemporary,Pop,Rock. Lead Sheet / Fake Book. 3 pages. Moose Hide Music Publishing #611999. Published by Moose Hide Music Publishing (A0.1006350). Pop Rock / Rock & Roll. Full score available from publisher. Song available on major streaming services.
$3.00 ≈
2.71€
They Can't Take That Away From Me
They Can't Take That Away From Me
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Instruments en Do
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INTERMÉDIAIRE/AVANCÉ
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Frank Sinatra
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John Fries
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They Can't Take That Away From
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John Fries
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SheetMusicPlus
C Instrument - Level 4 - SKU: A0.499881 By Frank Sinatra. By George Gershwin and Ira Gershwin. Arranged by John Fries. 20th Century,Film/TV,Jazz,Standar...
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C Instrument - Level 4 - SKU: A0.499881 By Frank Sinatra. By George Gershwin and Ira Gershwin. Arranged by John Fries. 20th Century,Film/TV,Jazz,Standards. Lead Sheet / Fake Book. 1 pages. John Fries #113148. Published by John Fries (A0.499881). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Â You can also type John Fries in the searchbar to see all I have to offer. They Can't Take That Away from Me is a 1937 popular song with music by George Gershwin and lyrics by Ira Gershwin. It was introduced by Fred Astaire in the 1937 film Shall We Dance and gained huge success. George Gershwin died two months after the film's release, and he was posthumously nominated for the Academy Award for Best Original Song at the 1937 Oscars but lost out to Sweet Leilani which had been made tremendously popular by Bing Crosby.
$3.99 ≈
3.60€
They Can't Take That Away From Me
They Can't Take That Away From Me
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Piano, Voix et Guitare
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INTERMÉDIAIRE/AVANCÉ
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Frank Sinatra
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John Fries
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They Can't Take That Away From
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John Fries
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1196635 By Frank Sinatra. By George Gershwin and Ira Gershwin. Arranged by John Fries. 20th Century,Broadwa...
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Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1196635 By Frank Sinatra. By George Gershwin and Ira Gershwin. Arranged by John Fries. 20th Century,Broadway,Jazz,Musical/Show,Standards. Score. 2 pages. John Fries #795798. Published by John Fries (A0.1196635). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. They Can't Take That Away from Me is a 1937 popular song with music by George Gershwin and lyrics by Ira Gershwin. It was introduced by Fred Astaire in the 1937 film Shall We Dance and gained huge success. George Gershwin died two months after the film's release, and he was posthumously nominated for the Academy Award for Best Original Song at the 1937 Oscars but lost out to Sweet Leilani which had been made tremendously popular by Bing Crosby.
$4.99 ≈
4.50€
Americana Symphony "Variations on Appalachia Waltz" (percussion parts – symphony orchestra)
Americana Symphony "Variations on Appalachia Waltz" (percussion parts – symphony orchestra)
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Orchestre
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AVANCÉ
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Mark O'Connor
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Americana Symphony "Varia
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Mark O'Connor Musik International
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.861962 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 99 pages. Mark O'Connor Musik Inte...
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Full Orchestra - Level 5 - SKU: A0.861962 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 99 pages. Mark O'Connor Musik International #6209401. Published by Mark O'Connor Musik International (A0.861962). Americana Symphony Variations on Appalachia Waltz (percussion parts – symphony orchestra) MO164Q-TPercussion Parts (score and parts available)Music by Mark O’Connor99 pages – 33:00 minutes in length Americana Symphony Variations on Appalachia WaltzFor Large Symphony Orchestra3333/4331/timp/perc/pno/harp+stringsComposed and orchestrated by Mark O’Connor 1st Movement: Brass Fanfare: Wide Open Spaces2nd Movement: New World Fanciful Dance3rd Movement: Different Paths Towards Home4th Movement: Open Plains Hoedown5th Movement: Soaring Eagle, Setting Sun6th Movement: Theme: Splendid HorizonsNote: Any movement or combination of the movements can be singled out or re-organized for performance. Most any order of movements is acceptable. Suggestions for consideration included I., II., III., and IV., all recommended as stand alone pieces. Most an order of movements is acceptable. The composition was designed for maximum flexibility. Three or four movements combine to make a shorter variation Symphony. What is American Classical music? This CD contains Mark O'Connor's latest orchestral works: Americana Symphony Variations on Appalachia Waltz(2006) and Concerto No. 6 Old Brass (2003). Sony Classical//BMG label director Gilbert Hetherwick explains; Dvorak and Copland painted symphonic landscapes using melodies inspired by the Americana tradition, and Mark O'Connor actually comes from that tradition itself. He's lived it every day of his life. And you hear it in every note of his Americana Symphony. For the majority of his solo career, O'Connor has dedicated himself to composing for orchestra: he has written six full-length concertos, several orchestral suites and string orchestra compositions, and most recently his first Symphony.David Wallace, Juilliard School faculty member and Senior Teaching Artist with the New York Philharmonic, comments on the overall characteristics of O'Connor's music: The Americana Symphony combines historical narrative with classical and folk variation principles. The Symphony contains instrumental virtuosity, rhythmic drive, poignant lyricism, and probing counterpoint. With the Americana Symphony, Mark O'Connor provides his answer to a question that has intrigued U. S. composers since the debut of Dvorak's New World Symphony in 1892: How do you write the great American Symphony?William Intrilligator, artistic director of the Dubuque Symphony, conducted one of the first performances of the Americana Symphony: Very few pieces of new music have the same emotional and visceral effect as this Symphony, he writes. It has such power and beauty, and these traits are expressed in original ways that are pure O'Connor and truly American.Marin Alsop, artistic director of the Baltimore Symphony Orchestra and this recording's conductor of the Americana Symphony, calls the Symphony simply A hit! Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 - 2007 Composed by Mark O’ConnorCommissioned by: Cabrillo Music Festival and Marin Alsop, Colorado Symphony, Dubuque Symphony, Fargo Moorhead Symphony, Fox Valley Symphony, Garrett Lakes Arts Festival, Greater Anderson Musical Arts Consortium, Imperial Symphony, Reading Symphony, Richmond Symphony, Rockford Symphony, Santa Fe Symphony, Springfield Symphony, Springfield Symphony, Symphony Silicon Valley, Youngstown Youth Symphony. Can be heard on Americana Symphony! OMAC RecordsBaltimore Symphony Orchestra, Marin Alsop
$50.00 ≈
45.10€
They Can't Take That Away From Me
They Can't Take That Away From Me
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Frank Sinatra
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John Fries
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They Can't Take That Away From
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John Fries
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1495928 By Frank Sinatra. By George Gershwin and Ira Gershwin. Arranged by John Fries. 20th Century,Broadway,Jazz,Musical...
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Piano Solo - Level 4 - SKU: A0.1495928 By Frank Sinatra. By George Gershwin and Ira Gershwin. Arranged by John Fries. 20th Century,Broadway,Jazz,Musical/Show,Standards. Score. 2 pages. John Fries #1072459. Published by John Fries (A0.1495928). TYPE JOHN FRIES IN THE SEARCH BAR TO SEE ALL I HAVE TO OFFER. Thanks, John. They Can't Take That Away from Me is a 1937 popular song with music by George Gershwin and lyrics by Ira Gershwin. It was introduced by Fred Astaire in the 1937 film Shall We Dance and gained huge success. George Gershwin died two months after the film's release, and he was posthumously nominated for the Academy Award for Best Original Song at the 1937 Oscars but lost out to Sweet Leilani which had been made tremendously popular by Bing Crosby.
$5.99 ≈
5.40€
Dance Of The Skeletons
Dance Of The Skeletons
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Piano seul
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AVANCÉ
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Liberace
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Timothy Stapay
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from his classic fifties t
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Dance Of The Skeletons
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Timothy Stapay
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1112901 By Liberace. By Camille Saint-Saens. Arranged by Timothy Stapay. Broadway,Classical,Film/TV,Halloween,Musical/Sho...
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Piano Solo - Level 5 - SKU: A0.1112901 By Liberace. By Camille Saint-Saens. Arranged by Timothy Stapay. Broadway,Classical,Film/TV,Halloween,Musical/Show,Pop. Score. 12 pages. Timothy Stapay #714856. Published by Timothy Stapay (A0.1112901). Dance Of The Skeletons as performed by piano artist Liberace; from his classic fifties t.v. show.The song is based upon Dance Macabre op. 40 by Camille Saint-Saens. Want to learn to play like Liberace? Now you can learn to play this fun and exciting Halloween song; in the same fantastic style as the legendary showman, Liberace According to the ancient superstition, Death appears at midnight every year on Halloween. Death has the power to call forth the dead from their graves to dance for him while he plays his fiddle . The skeletons dance for him until the first break of dawn, when they must return to their graves until the next year! Władziu Valentino Liberace (May 16, 1919 – February 4, 1987) was an American pianist, singer, and actor. A child prodigy born in Wisconsin to parents of Italian and Polish origin, he enjoyed a career spanning four decades of concerts, recordings, television, motion pictures, and endorsements. At the height of his fame from the 1950s to 1970s, he was the highest-paid entertainer in the world!
$8.99 ≈
8.11€
Scene from the Snowy Pine Forest from he Nutcracker for Two Flutes (or Two Oboes) - Flute or Oboe Du
Scene from the Snowy Pine Forest from he Nutcracker for Two Flutes (or Two Oboes) - Flute or Oboe Du
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Peter Ilyich Tschaikovsky
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Daniel Kelley
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Flute, Violin &
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Scene from the Snowy Pine Fore
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Last Resort Music Publishing
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SheetMusicPlus
Small Ensemble,Strings Flute,Oboe,Violin - Level 3 - SKU: A0.530367 Composed by Peter Ilyich Tschaikovsky. Arranged by Daniel Kelley. Children,Christmas...
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Small Ensemble,Strings Flute,Oboe,Violin - Level 3 - SKU: A0.530367 Composed by Peter Ilyich Tschaikovsky. Arranged by Daniel Kelley. Children,Christmas,Concert,Romantic Period,Standards. Score and parts. 3 pages. Last Resort Music Publishing #3579179. Published by Last Resort Music Publishing (A0.530367). A beautiful movement from Tschaikovsky's Nutcracker for Duet!Playable by Playable by Two Violins, Two Flutes, Two Oboes, Violin & Flute, Violin & Oboe, Flute & Oboe, Violin Duet, Oboe Duet, Flute DuetEach duet book is published in score form (both parts on the same page) so that the players can play from the same part. Don't miss our other Nutcracker arrangements including Mother Ginger, Chocolate, Clara & the Nutcracker, Pas De Deux, Final Waltz, Apotheosis, Waltz of the Flowers, March, Tarantella, Children's Galop, Dance of the Reed Flutes, Chinese Dance, Dance of the Sugar Plum Fairy, March, Overture & Trepak! All available on SheetMusicPlus and www.lastresortmusic.comPublished by Last Resort Music Publishing www.lastresortmusic.com.
$4.95 ≈
4.46€
Bwana Nipe Pesa (for S/A.T.B voices)
Bwana Nipe Pesa (for S/A.T.B voices)
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Chorale SATB
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Super Mazembe
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Evans Obanda Mbinji
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Bwana Nipe Pesa
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Evans Obanda Mbinji
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SheetMusicPlus
Choral Choir (Mixed) - SKU: A0.1023308 Composed by Super Mazembe. Arranged by Evans Obanda Mbinji. A Cappella,African,Jazz,Pop. Octavo. 7 pages. Evans O...
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Choral Choir (Mixed) - SKU: A0.1023308 Composed by Super Mazembe. Arranged by Evans Obanda Mbinji. A Cappella,African,Jazz,Pop. Octavo. 7 pages. Evans Obanda Mbinji #5718561. Published by Evans Obanda Mbinji (A0.1023308). Bwana Nipe Pesa About this piece . . . . Kenyan Zilizopendwa - Song - Arranged by Evans O. Mbinji Zilizopendwa (literally, those which were loved') is a term used in Kenya to refer to early Kenyan popular music, synonymous with the term golden oldies as used in the United States. Kiswahili is the national language of Kenyan.All vowel sounds are pure as in Latin. Bwana Nipe Pesa is a Zilizopendwa song that should be performed with enthusiasm, Dance movement, However expressive accents should be given at appropriate points in the musical and textual phrases. Literal Transalation Bwana nipe pesa –Father give me money Watoto wana njaa – The children are hungry Lakini mke wako- But your wife anapenda kutangatanga – Is a loose lady, who moves with everyone Majirani wanachoka kumuona –Neighbours are tired of seeing her Fungueni milango anakuja – Close all the doors she is coming. Watu wote wa Nairobi,Mombasa – People from Nairobi & Mombasa Wakuona kila siku – They keep seeing you every day. Tafadhali bwana rudi – please father come back. Percussion Notes -Improvisation is encouraged. Percussion must never dominate the texture, but rather remain supportive -The piece my be performed a cappella However the effect of the piece will be greatly enhanced by using a variety of improvised percussion instruments like (conga,shakers,claves and rattles) The accompanying ensemble should take care to allow the the choir to be heard. About the Arranger Evans Obanda Mbinji is a composer,clinician,adjudicator, conductor,music educator and the founding Artistic Director of Jobel Chorale ,Zetech University. He has directed many choirs both in Kenya and international. And is a long-standing member of Kenyan Choral Directors Trust and ACDA. I hope you Enjoy! - Evans O.Mbinji .
$4.00 ≈
3.61€
Hungry Five Two-Pack - Two E.T. Paull pieces for "Hungry Five" Band
Hungry Five Two-Pack - Two E.T. Paull pieces for "Hungry Five" Band
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Lincoln/Paull
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Aaron Hettinga
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Hungry Five Two-Pack - Two E.T
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Aaron Hettinga
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SheetMusicPlus
Small Ensemble Clarinet,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.782102 Composed by Lincoln/Paull. Arranged by Aaron Hettinga. 20th Century,Folk,Patrio...
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Small Ensemble Clarinet,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.782102 Composed by Lincoln/Paull. Arranged by Aaron Hettinga. 20th Century,Folk,Patriotic,Traditional. Score and parts. 35 pages. Aaron Hettinga #6713295. Published by Aaron Hettinga (A0.782102). Edward Taylor Paull (1858-1924) was an American composer of marches and rags who was successful in producing a large number of circus marches in the late 1800’s/early 1900’s.. The Ben Hur Chariot Race March was the first publication he released in 1894. He also arranged Harry J. Lincoln's hit, Midnight Fire Alarm.These arrangements have been prepared for the instrumentation of Alford’s Hungry Five polka band books and serve as a fine addendum to those familiar pieces. While the clarinet parts tend to be the most active, they often feature diatonic scalar patterns that remain accessible to most intermediate-level players. The trombone part here is more active than many other arrangements for this kind of ensemble and could also be handled by Euphonium if desired. Again, it’s mostly short diatonic 16th note bursts. At the risk of sounding sloppy, it may be better to take the tempo a little lesser than a circus march tempo to accommodate. Besides, if playing this piece for Polka dancing, it would be best to take this at a more danceable tempo anyway.This downloadable PDF package contains 2 complete packages of full scores and a sets of parts for Midnight Fire Alarm and Ben Hur Chariot Race March that are ready to go for adding some extra variety to your German Band’s Oktoberfest gig!
$24.99 ≈
22.54€
Bartók: Rumanian Folk Dances Sz.56 (Complete) - wind quintet
Bartók: Rumanian Folk Dances Sz.56 (Complete) - wind quintet
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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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Bela Bartok
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Ray Thompson
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Bartók: Rumanian Folk Dances
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SheetMusicPlus
Flute, Oboe, Clarinet, Bassoon, Woodwind Quintet, Horn in F - Advanced - Composed by Bela Bartok (1881-1945). Arranged by Ray Thompson. 20th Century, Fol...
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Flute, Oboe, Clarinet, Bassoon, Woodwind Quintet, Horn in F - Advanced - Composed by Bela Bartok (1881-1945). Arranged by Ray Thompson. 20th Century, Folk, Recital. Score, Set of Parts. 26 pages. Published by RayThompsonMusic
Romanian Folk Dances Sz. 56, BB 68 is a suite of six short piano pieces composed by Bla Bartk in 1915. He later orchestrated it for small ensemble in 1917 as Sz. 68, BB 76.
It is based on seven Romanian tunes from Transylvania, originally played on fiddle or shepherd's flute.
The original name for the piece was titled Romanian Folk Dances from Hungary but was later changed by Bartk when Transylvania became part of Romania in 1920. It is nowadays available in the 1971 edition which is written with key signatures although Bartk rarely ever used key signatures.
This set of dances consists of six movements and, according to the composer, it should take four minutes and three seconds to perform, but most professional pianists take up to five minutes. The list of the movements is as follows (with the original Hungarian title listed first, the most commonly known Romanian title second, and the English translation in parentheses):
Bot tnc / Jocul cu btand#259; (Stick Dance)The melody of the first movement, according to Bartk, came from the Mezand#337;szabad (present-day Voiniceni) village that was part of Mezand#337;csvs (present-day Ceuaand#537;u de Cmpie) commune which was located in the Maros-Tordaadministrative county within Transylvania, and he first heard it when two gypsy violinists were playing it.
Brul (Sash Dance)The second movement is a typical dance from Romania called Brul, for which traditionally a sash or a waistband was used. This melody came from Egres (present-day Igriand#537;), in the Banat region.
Topog / Pe loc (In One Spot)The third dance comes also from Egres (Igriand#537;), but its theme is much darker and its melody recreates Middle Eastern instruments, such as the flute.[4]
Bucsum tnc / Buciumeana (Dance from Bucsum)The fourth dance came from Bucsony, Als-Fehr County (today Bucium, Alba county in Romania)
Romn polka / Poarga Romneascand#259; (Romanian Polka)The fifth dance is an old Romanian dance similar to the Polka and comes from Belnyes (present-day Beiuand#351;, in Bihor county), near the border between Hungary and Romania.
Aprz / Mand#259;runand#539;el (Fast Dance)The sixth and last dance is formed by two different melodies: the first one comes from Belnyes (present-day Beiuand#537;) and the second one comes from the then named Nyagra (present-day Neagra) village within the Palotailva (present-day Lunca Bradului) commune. Both on the orchestral version and on the original piano version, the final two dances are performed attacca?without a break between movements.
$15.99 ≈
14.42€
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 ≈
3.60€
It was a lover and his lass (a modern madrigal) for SATB choir
It was a lover and his lass (a modern madrigal) for SATB choir
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Chorale SATB
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David Warin Solomons
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It was a lover and his lass
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David Warin Solomons
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SheetMusicPlus
Choral Choir (SATB) - SKU: A0.576648 Composed by David Warin Solomons. 20th Century,Contemporary,Holiday,Love. Octavo. 6 pages. David Warin Solomons #49...
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Choral Choir (SATB) - SKU: A0.576648 Composed by David Warin Solomons. 20th Century,Contemporary,Holiday,Love. Octavo. 6 pages. David Warin Solomons #49135. Published by David Warin Solomons (A0.576648). A jolly parody of Shakespeare's song by the same name but using my Bell Dance as the melody to represent mobile phones (or cell phones as they say in the USA). A version for men's voices is also available on this site. The sound sample here was performed by the Composer's Choir under Dan Shaw. ring ding dong ding dong ring ding dong ding dong It was a lover and his lass in the spring time that through the city streets did pass in this ring time calling each other every minute or two and texting in case they couldn't get through oh hearken to the lovers in the spring time! Between the supermarket aisles while they're shopping these pretty city folk would chat without stopping vainly the birds are welcoming spring with their song they'll wear themselves out e'er very long while lads and lasses never tire of ringing! Then one day when Romeo must text his Julietta just to say I luv ya yeah I luv ya so much but then she rings back to tell him that it's all over she's met a nicer lad from Folkestone or Dover (It's all over it's all over lad from Dover) so he just rings to all of his pals and calls her a slag! and all the people on the tram hear the show while our pretty city folk live all on their mobile then suddenly the battery's flat as a skate and Romeo can not ring his mate he's sorry that he called her slag in spring time he can't ring her he can't ring his Julietta sorry now in spring.
$3.99 ≈
3.60€
Élégie
Élégie
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Guitare
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INTERMÉDIAIRE
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Contemporain
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Francis Bebey
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Ingrid Riollot
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Élégie
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Les Editions Doberman-Yppan
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SheetMusicPlus
Guitar - Intermediate - SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Yppan (digital) #DO...
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Guitar - Intermediate - SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Yppan (digital) #DO 1522. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1522). Francis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux Ã?tats-Unis.Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.Parallèlement, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. Ã? Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism. He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.
$3.95 ≈
3.56€
Feliz Navidad
Feliz Navidad
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Violon, Violoncelle (duo)
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FACILE
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Clay Walker
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Sarah Cellobat Chaffee
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Feliz Navidad
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Sarah Cellobat Chaffee
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SheetMusicPlus
Cello,Instrumental Duet,Violin - Level 2 - SKU: A0.526393 By Clay Walker. By Jose Feliciano. Arranged by Sarah Cellobat Chaffee. Christmas,Holiday,Latin...
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Cello,Instrumental Duet,Violin - Level 2 - SKU: A0.526393 By Clay Walker. By Jose Feliciano. Arranged by Sarah Cellobat Chaffee. Christmas,Holiday,Latin,Pop,Rock. 5 pages. Sarah Cellobat Chaffee #6637989. Published by Sarah Cellobat Chaffee (A0.526393). Feliz Navidad was originally written in 1970 by Puerto Rican singer-songwriter Jose Feliciano, with simple, heartfelt lyrics expressing the joy he felt at his family Christmas celebrations back in Puerto Rico. The song has since become a beloved Christmas classic, and it has also become one of the most downloaded and aired songs in North America -- so you really can't go wrong having this one in your gig books! This Cellobat arrangement for violin and cello duet maintains the joyful upbeat tempo, catchy melody, and danceable groove of the original, and it's definitely just as much fun to play as it is to listen to; you're sure to get your audience singing along. This will be a great one for Christmas parties, cocktail hour, solo & ensemble contests, or any other event that needs some festive cheer! This is a simple, easy-intermediate-level arrangement that makes a big impact; it will be easily playable for students and 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
$7.99 ≈
7.21€
Feliz Navidad
Feliz Navidad
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Violon, Alto (duo)
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FACILE
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Clay Walker
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Sarah Cellobat Chaffee
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Feliz Navidad
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Sarah Cellobat Chaffee
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SheetMusicPlus
Instrumental Duet,Viola,Violin - Level 2 - SKU: A0.1317386 By Clay Walker. By Jose Feliciano. Arranged by Sarah Cellobat Chaffee. Christmas,Holiday,Lati...
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Instrumental Duet,Viola,Violin - Level 2 - SKU: A0.1317386 By Clay Walker. By Jose Feliciano. Arranged by Sarah Cellobat Chaffee. Christmas,Holiday,Latin,Multicultural,Pop,World. 5 pages. Sarah Cellobat Chaffee #906048. Published by Sarah Cellobat Chaffee (A0.1317386). *INSTRUMENTATION: VIOLIN & VIOLA DUET*Feliz Navidad was originally written in 1970 by Puerto Rican singer-songwriter Jose Feliciano, with simple, heartfelt lyrics expressing the joy he felt at his family Christmas celebrations back in Puerto Rico. The song has since become a beloved Christmas classic, and it has also become one of the most downloaded and aired songs in North America -- so you really can't go wrong having this one in your gig books! This Cellobat arrangement for violin and viola duet maintains the joyful upbeat tempo, catchy melody, and danceable groove of the original, and it's definitely just as much fun to play as it is to listen to; you're sure to get your audience singing along. This will be a great one for Christmas parties, cocktail hour, solo & ensemble contests, or any other event that needs some festive cheer! This is a simple, easy-intermediate-level arrangement that makes a big impact; it will be easily playable for students and 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.
$6.99 ≈
6.30€
Fantasy on a Mozart Theme
Fantasy on a Mozart Theme
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Guitare
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INTERMÉDIAIRE
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Classique
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Rod Whittle
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for solo classical guitar
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Fantasy on a Mozart Theme
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.899126 Composed by Rod Whittle. Classical. Individual part. 4 pages. Maggie Creek Music #37277. Published by Maggie Cree...
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Solo Guitar - Level 3 - SKU: A0.899126 Composed by Rod Whittle. Classical. Individual part. 4 pages. Maggie Creek Music #37277. Published by Maggie Creek Music (A0.899126). 4 pages; for solo classical guitar; based on a theme from the Mass in C Minor; published by Maggie Creek MusicWolfgang Amadeus Mozart 1756 -1791 Mozart, whom his sister recounted as picking out thirds on the family clavier at the age of three for the pleasure of it, has been described as achieving miracles of sound across every emotion. Indeed one runs out of superlatives trying to do justice to the quality and originality of his compositions and the abundance of output. Anyone learning about his relatively short life must also pay tribute to his resolve and courage. I've noticed during my time in bands that the music I like sparks creativity, and the lovely theme from the Kyrie of the Mass in C minor spawned a lot of ideas once I'd decided to write something for guitar using it. Mozart's harmonies seem both exclusive and perfect, and I can't imagine my musical life without them. I got to know the Mass when I looked after Nigel's place while he was away, as it was in his record collection. My good friend died (of bone cancer) not long after that, and the Fantasy is a homage to him.
$5.00 ≈
4.51€
CASSANDRA'S VISION
CASSANDRA'S VISION
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Violon et Piano
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Contemporain
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Monica Bergo
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CASSANDRA'S VISION
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Moni Bergo
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano,Violin - SKU: A0.1012704 Composed by Monica Bergo. Contemporary. Score and parts. 30 pages. Moni Bergo #574289...
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Instrumental Duet Instrumental Duet,Piano,Violin - SKU: A0.1012704 Composed by Monica Bergo. Contemporary. Score and parts. 30 pages. Moni Bergo #5742893. Published by Moni Bergo (A0.1012704). Music and song composed by me about Borderline♫ * ´¨` * • .¸¸. ♫ Cassandra's vision ♫ * ´¨` * • .¸¸. ♫ I don't want to open that door, I shouldn't ... but it's the wind that brings me ... And I sing in a low voice, Until the pain passes and turn, turn-round, how bad the world is Between thoughts and tears, words and music There is Cassandra's vision And I don't know if he can do it, to write about you, you left quickly, And you're perfect in my mind Cassandra is locked up in that room, He hugs himself, tells an existence: Look there, my father and his glass, look at me, the victim of drinking purple bruises, always alone at school, violence continues in indifference, my mother knew but hid everything, the mind that does not hold, and the borderline destroys the spark that was in me, all those dreams of mine and that love that I will never have, I would like to run away but I am chained here, uncontrolled rituals, repeated gestures and a monster closed inside me In Cassandra's vision, she no longer has bars in this room no longer has a body, sex, it is ageless It's a vision but she doesn't know it In harmony with creation, forget the present and the past And the pain comes up and will disappear, It's a vision but she doesn't know it Cassandra does not know, who is about to lose our reality Worn threads Of a fragile puppet He hangs in the balance, embraces a nightmare In his labyrinths, he never finds a way out And pass the margin, cross that limit You feel a flower that Needs no longer has And the wind will follow In front of the mirror, The long hair, Reflect flashes of a thousand crystals You comb them slowly ,, With infinite care, You have been waiting for your love for a lifetime And a carillon that resounds far away, The brush suddenly falls from your hand Because the black man is here, he is already back, He breaks your dream, the charm is broken Cassandra runs among the stars and tattooes them on her skin Bruises and scars no longer has, It's a vision but she doesn't know it In dimensions to explore, How birds can fly Breathe sun, love and freedom And no one will harm you here ... Cassandra stop, Cassandra help me not to regret you Now you can't chain me to you, to your memory that will burn forever Cassandra doesn't know that wings don't, she doesn't Tragic angel who takes flight and then A puppet with broken threads now And time stands still here, like your beat But the vision is mine or Cassandra's, I don't remember anymore, This time changes my perception of the past Faces and names that Time has faded by now And I dance to the ticking of what has been lost souls who are left behind always inside me with their story an eternal tattoo in my memory I shouldn't open that door, I don't want to, but it's the wind that brings me…. and I sing in a low voice until the pain passes and round, round-round how bad the world is ... .. Monica Bergo
$5.00 ≈
4.51€
Mandy
Mandy
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Piano, Voix et Guitare
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FACILE
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Barry Manilow
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Unimusic Academy
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Mandy
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Unimusic Academy
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 2 - SKU: A0.1302223 By Barry Manilow. By Richard Kerr and Scott English. Arranged by Unimusic Academy. Contemporary,Pop...
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Guitar,Piano,Vocal,Voice - Level 2 - SKU: A0.1302223 By Barry Manilow. By Richard Kerr and Scott English. Arranged by Unimusic Academy. Contemporary,Pop,Rock,Singer/Songwriter. Score. 5 pages. Unimusic Academy (Academia Unimusica) #891827. Published by Unimusic Academy (Academia Unimusica) (A0.1302223). Mandy is a romantic song that has had several versions. It was recorded for the first time in 1971, with the title Brandy by Scott English, however, it achieved popularity with the version by the American Barry Manilow in 1974, being his first song to reach number one on the Billboard Hot 100 and his first golden song.1​2​In 1992 the Italian music producer Marco Parmigiani produced a Eurodance version on 12-inch vinyl. It was released in Italy on the Disc-O-Very Records label, and a year later it was published in Spain on the legendary Barcelona label Max Music. The version was heard a lot in Valencian clubs in the 90s.It was later re-recorded by the Irish group Westlife in 2003, and this version became number one on the UK chart.3The song also appeared in several films, such as Can't Hardly Wait, being performed by various characters. One theory says that because of Manilow's alcoholism, Brandy became Mandy.It is thought that Scott English wrote Brandy inspired by his favorite dog that he let escape. English claimed (reported in The Billboard Book of Number One Adult Contemporary Hits) that an assistant called him early that morning to ask who Brandy was, and he, irritated, lied that it was a dog so that the conversation will end quickly.When Manilow recorded Mandy he was not happy with the electronic rhythm of English's original version, so he preferred to sing it as a ballad and was much more pleased with the results.The song was parodied on the show Gift Grub under the title Andy on The Drew Carey Show, where the name Mandy is replaced by Kyra. Who also performed a parody of Mandy was the German singer LaFee at the age of 13. Thanks to this imitation, called Handy, a music producer discovered her in a children's singing competition in Germany.Korean actor, singer and model Jang Keun Suk sings this song during the movie You are my petIt also appeared in an episode of CSI: Crime Scene Investigation (originally aired in November 2006), and in an episode of The Simpsons, Homer sings it to Margo as Oh, Margo. Years later, in an episode of Family Guy, Manilow himself sings to Gregg a version of his song, Oh, Quagmire..
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He Can't Dance
