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How Long Will Be Too Long
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Vous avez sélectionné:
How Long Will Be Too Long
Partitions à imprimer
211 partitions trouvées
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How Long Will Be Too Long by Michael W. Smith - Piano/Vocal/Chords, Singer Pro
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Piano, Voix
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Michael W. Smith
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How Long Will Be Too Long
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Musicnotes
Performed by: Michael W. Smith: How Long Will Be Too Long Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital shee...
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Performed by: Michael W. Smith: How Long Will Be Too Long Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal/Chords;Singer Pro, instruments: Voice;Piano;Backup Vocals; 6 pages -- CCM~~Christian Rock~~Adult Contemporary~~Christian
$5.50
Just Another Birthday Song - Swing Edition - Playalong
Just Another Birthday Song - Swing Edition - Playalong
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Jazz
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Phil Thrift
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Just Another Birthday Song - S
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Phil Thrift
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SheetMusicPlus
Piano,Voice - Level 3 - SKU: A0.1072043 Composed by Phil Thrift. Jazz. Accompaniment. Duration 154. Phil Thrift #5805787. Published by Phil Thrift (A0.1...
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Piano,Voice - Level 3 - SKU: A0.1072043 Composed by Phil Thrift. Jazz. Accompaniment. Duration 154. Phil Thrift #5805787. Published by Phil Thrift (A0.1072043). Are you looking for a new song to celebrate someone’s birthday? If so, then Just Another Birthday Song – Swing Edition might well be what you’re looking for. Simple melody, simple harmonies, simple ideas, not too long and at times a mildly reflective take on the birthday theme. However, the text is never too serious – it’s someone’s birthday, after all! The spaces between the lines of text in the Bridge and the Outro leave you scope for adding a solo instrument or perhaps speaking a few congratulatory words while others continue the song in the background. Indeed, measures 49-60 could even be repeated quietly to accompany a solo instrument or someone speaking. The possibilities for making this song more individual are endless! The well-known tunes will continue to feature at many birthday events, but Just Another Birthday Song – Swing Edition gives you the chance to present a refreshing, different and flexible musical number when honoring someone’s birthday.Available separately:Sheet music for solo voice and piano (swing version)
$2.99
Just Another Birthday Song - Playalong
Just Another Birthday Song - Playalong
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Pop musique
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Phil Thrift
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Just Another Birthday Song - P
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Phil Thrift
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SheetMusicPlus
Piano,Voice - Level 3 - SKU: A0.1072042 Composed by Phil Thrift. Pop. Accompaniment. Duration 154. Phil Thrift #5805785. Published by Phil Thrift (A0.10...
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Piano,Voice - Level 3 - SKU: A0.1072042 Composed by Phil Thrift. Pop. Accompaniment. Duration 154. Phil Thrift #5805785. Published by Phil Thrift (A0.1072042). Are you looking for a new song to celebrate someone’s birthday? If so, then Just Another Birthday Song might well be what you’re looking for. Simple melody, simple harmonies, simple ideas, not too long and at times a mildly reflective take on the birthday theme. However, the text is never too serious – it’s someone’s birthday, after all! The spaces between the lines of text in the Bridge and the Outro leave you scope for adding a solo instrument or perhaps speaking a few congratulatory words while others continue the song in the background. Indeed, measures 49-60 could even be repeated quietly to accompany a solo instrument or someone speaking. The possibilities for making this song more individual are endless! Optional harmony notes are also included for use with more than one singer. The well-known tunes will continue to feature at many birthday events, but Just Another Birthday Song gives you the chance to present a refreshing, different and flexible musical number when honoring someone’s birthday.Available separately:Sheet music for solo voice and piano (with optional 2-part harmony) (A0.955730 or 1051903)
$2.99
Not So Long Ago
Not So Long Ago
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Ensemble Jazz
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Jazz
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John Philips
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2 in unison
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Not So Long Ago
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John Philips Music Service
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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
As Long As You Love Me
As Long As You Love Me
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Violon
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INTERMÉDIAIRE/AVANCÉ
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Pop musique
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The Backstreet Boys
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Sarah Cellobat Chaffee
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As Long As You Love Me
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Sarah Cellobat Chaffee
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SheetMusicPlus
Violin Solo - Level 4 - SKU: A0.526292 By The Backstreet Boys. By Martin Sandberg. Arranged by Sarah Cellobat Chaffee. Contemporary,Pop,Wedding. 2 pages...
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Violin Solo - Level 4 - SKU: A0.526292 By The Backstreet Boys. By Martin Sandberg. Arranged by Sarah Cellobat Chaffee. Contemporary,Pop,Wedding. 2 pages. Sarah Cellobat Chaffee #6372659. Published by Sarah Cellobat Chaffee (A0.526292). As Long As You Love Me was the second single from the Backstreet Boys' very first album. Released in 1997, the song soon became one of the band's biggest hits and is now considered one of their signature songs. It was impossible not to know this song back then, and it has since become a classic throwback song for the millennial generation! Maintaining the fun upbeat groove, passionate melody lines, and dynamic contrasts of the original, this arrangement for solo violin is just as much fun to play as it is to listen to, and it's sure to get everybody singing along! This chart was originally written for a wedding ceremony, but it will also be perfect for solo & ensemble concerts, receptions, cocktail hour, and any other occasion that needs some boy band throwback nostalgia. No accompaniment part -- it stands alone, or can be played with a backing track for solo gigs. Rated advanced-intermediate; there's nothing too crazy here, but there are some interesting syncopated rhythms throughout and it goes up to 4th pos. on the E string. This will be learnable 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
As Long As You Love Me
As Long As You Love Me
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Trio à Cordes: 2 violons, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Pop musique
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The Backstreet Boys
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Sarah Cellobat Chaffee
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As Long As You Love Me
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Sarah Cellobat Chaffee
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SheetMusicPlus
String Trio Cello,Violin - Level 4 - SKU: A0.834776 By The Backstreet Boys. By Martin Sandberg. Arranged by Sarah Cellobat Chaffee. Contemporary,Pop,Wed...
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String Trio Cello,Violin - Level 4 - SKU: A0.834776 By The Backstreet Boys. By Martin Sandberg. Arranged by Sarah Cellobat Chaffee. Contemporary,Pop,Wedding. 13 pages. Sarah Cellobat Chaffee #441584. Published by Sarah Cellobat Chaffee (A0.834776). *INSTRUMENTATION: 2 VIOLINS & CELLO*As Long As You Love Me was the second single from the Backstreet Boys' very first album. Released in 1997, the song soon became one of the band's biggest hits and is now considered one of their signature songs. It was impossible not to know this song back then, and it has since become a classic throwback song for the millennial generation! Maintaining the fun upbeat groove, layers of harmonies, beautiful melody lines, and dynamic contrasts of the original, this Cellobat arrangement for your two-violin and cello trio is just as much fun to play as it is to listen to, and it's sure to get everybody singing along! This chart will be perfect for pop concerts, solo & ensemble concerts, weddings, receptions, and any other occasion that needs some boy band throwback nostalgia. Rated advanced-intermediate - there's nothing too crazy in any of the parts, but the violins have lots of interesting syncopated rhythms throughout. This will be 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.
$14.99
I Will Follow
I Will Follow
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Violoncelle (partie séparée)
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INTERMÉDIAIRE
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Christian contemporain
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Chris Tomlin
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Liz Lee - Cellomoji
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I Will Follow
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Cellomoji
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SheetMusicPlus
Cello Solo - Level 3 - SKU: A0.900295 By Chris Tomlin. By Chris Tomlin, Jason Ingram, and Reuben Morgan. Arranged by Liz Lee - Cellomoji. Christian. Ind...
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Cello Solo - Level 3 - SKU: A0.900295 By Chris Tomlin. By Chris Tomlin, Jason Ingram, and Reuben Morgan. Arranged by Liz Lee - Cellomoji. Christian. Individual part. 3 pages. Cellomoji #4287889. Published by Cellomoji (A0.900295). This is the cello transcription for I Will Follow by Chris Tomlin. It is written in the key of the recording off of the album And If Our God Is For Us and you can play along with the track. Just know there are a lot of phrases that are repetitive, but I wrote them out rather than writing repeat signs. It should line up with what you are hearing! Written in the key of B flat it would be helpful to know the two octave scale. However, if it is too challenging, you can always feel free to bring the upper notes down an octave. This is a great praise and worship song, and I love how it sounds on the cello! Hope you enjoy playing it!Cellomoji Website: http://eepurl.com/cOx6H9Cellomoji Instagram: www.instagram.com/cellomoji
$4.99
Too Much For Our Thirst (Trombone and Piano)
Too Much For Our Thirst (Trombone and Piano)
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Trombone et Piano
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Alexander Burdiss
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Too Much For Our Thirst
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Ars Nova Press
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SheetMusicPlus
Piano,Tenor Trombone - Level 4 - SKU: A0.1335564 Composed by Alexander Burdiss. Contemporary. Score and part. 12 pages. Ars Nova Press #921400. Publishe...
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Piano,Tenor Trombone - Level 4 - SKU: A0.1335564 Composed by Alexander Burdiss. Contemporary. Score and part. 12 pages. Ars Nova Press #921400. Published by Ars Nova Press (A0.1335564). Too Much For Our Thirstby Alexander BurdissArranged for Trombone and PianoDedicated to Courtney CarmackPerformance Time: approx. 7:00This is an adaptation for trombone of a piece originally written for tuba. The Eyes of the Poor from Paris SpleenWritten by Charles Baudelaire, Translated by Arthur Symons Ah! you want to know why I hate you to-day. It will probably be less easy for you to understand than for me to explain it to you; for you are, I think, the most perfect example of feminine impenetrability that could possibly be found. We had spent a long day together, and it had seemed to me short. We had promised one another that we would think the same thoughts and that our two souls should become one soul; a dream which is not original, after all, except that, dreamed by all men, it has been realised by none. In the evening you were a little tired, and you sat down outside a new café at the corner of a new boulevard, still littered with plaster and already displaying proudly its unfinished splendours. The café glittered. The very gas put on all the fervency of a fresh start, and lighted up with its full force the blinding whiteness of the walls, the dazzling sheets of glass in the mirrors, the gilt of cornices and mouldings, the chubby-cheeked pages straining back from hounds in leash, the ladies laughing at the falcons on their wrists, the nymphs and goddesses carrying fruits and pies and game on their heads, the Hebes and Ganymedes holding out at arm's-length little jars of syrups or parti-coloured obelisks of ices; the whole of history and of mythology brought together to make a paradise for gluttons. Exactly opposite to us, in the roadway, stood a man of about forty years of age, with a weary face and a greyish beard, holding a little boy by one hand and carrying on the other arm a little fellow too weak to walk. He was taking the nurse-maid's place, and had brought his children out for a walk in the evening. All were in rags. The three faces were extraordinarily serious, and the six eyes stared fixedly at the new café with an equal admiration, differentiated in each according to age. The father's eyes said: How beautiful it is! how beautiful it is! One would think that all the gold of the poor world had found its way to these walls. The boy's eyes said: How beautiful it is! how beautiful it is! But that is a house which only people who are not like us can enter. As for the little one's eyes, they were too fascinated to express anything but stupid and utter joy. Song-writers say that pleasure ennobles the soul and softens the heart. The song was right that evening, so far as I was concerned. Not only was I touched by this family of eyes, but I felt rather ashamed of our glasses and decanters, so much too much for our thirst. I turned to look at you, dear love, that I might read my own thought in you; I gazed deep into your eyes, so beautiful and so strangely sweet, your green eyes that are the home of caprice and under the sovereignty of the Moon; and you said to me: Those people are insupportable to me with their staring saucer- eyes! Couldn't you tell the head waiter to send them away? So hard is it to understand one another, dearest, and so incommunicable is thought, even between people who are in love!
$9.99
Que Sera, Sera (whatever Will Be, Will Be)
Que Sera, Sera (whatever Will Be, Will Be)
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Chorale SSAA
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FACILE
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Doris Day
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Jay Dougherty
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Que Sera, Sera
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Jay Dougherty
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SheetMusicPlus
Choral Choir (SSAA) - Level 2 - SKU: A0.1047870 By Doris Day. By Jay Livingston and Raymond B. Evans. Arranged by Jay Dougherty. A Cappella,Barbershop,C...
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Choral Choir (SSAA) - Level 2 - SKU: A0.1047870 By Doris Day. By Jay Livingston and Raymond B. Evans. Arranged by Jay Dougherty. A Cappella,Barbershop,Contest,Festival,Film/TV. Octavo. 9 pages. Jay Dougherty #652314. Published by Jay Dougherty (A0.1047870). Que Sera, Sera! Whatever will be, will be! This catchy and memorable song from The Man Who Knew Too Much is lighthearted and upbeat, and will have your audiences swaying along with your singers as they enjoy the youthful exuberance of the music and message. This SSAA a cappella arrangement is set for contestable women's barbershop.NOTE: There is a 10-copy minimum purchase. However, the per-copy price is set to the lowest possible setting at $1.99. If you want this song for a quartet, please understand that with the 10-copy minimum (10 x $1.99), you're still paying only $20 for legal access to this music. The arranger gets nearly nothing, and you're getting great legal music for $5 per quartet member. For more information on compositions and arrangements by Jay Dougherty, please visit www.jmdougherty.com.
$1.99
Toot, Toot, Tootsie for Woodwind Trio
Toot, Toot, Tootsie for Woodwind Trio
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Flûte, Clarinette et Basson
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INTERMÉDIAIRE/AVANCÉ
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Gus Kahn, Ernie Erdman, Dan Ru
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Daniel Kelley
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Toot, Toot, Tootsie for Woodwi
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Last Resort Music Publishing
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SheetMusicPlus
Woodwind Ensemble,Woodwind Trio Bassoon,Clarinet,Flute - Level 4 - SKU: A0.530163 Composed by Gus Kahn, Ernie Erdman, Dan Russo. Arranged by Daniel Kell...
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Woodwind Ensemble,Woodwind Trio Bassoon,Clarinet,Flute - Level 4 - SKU: A0.530163 Composed by Gus Kahn, Ernie Erdman, Dan Russo. Arranged by Daniel Kelley. 20th Century,Broadway,Jazz,Musical/Show,Pop. 12 pages. Last Resort Music Publishing #2082115. Published by Last Resort Music Publishing (A0.530163). Perform this upbeat hit sung by Al Jolson in the Academy Award Winning movie, The Jazz Singer. This quintessential song will bring out the Swing in any small ensemble! Parts included in Set Music Sample Part 1 Flute Part 2 Clarinet Part 3 Bassoon Score (Parts 1-3 in C) Playable by Two Violins & Cello or Flute & Oboe & Bassoon or String Trio (Violin, Viola, Cello), Piano Trio & More. The Keyboard Part is a full harmonization of Parts 2 and 3. Therefore, the arrangements could be played as a Piano Trio, or an entire trio could play with a pianist, as long as Part 1 is being played.
$8.95
Toot, Toot, Tootsie for Piano Trio
Toot, Toot, Tootsie for Piano Trio
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Trio à Cordes: violon, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Gus Kahn, Ernie Erdman, Dan Ru
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Daniel Kelley
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Toot, Toot, Tootsie for Piano
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Last Resort Music Publishing
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SheetMusicPlus
Small Ensemble Cello,Guitar,Piano,Violin - Level 4 - SKU: A0.530162 Composed by Gus Kahn, Ernie Erdman, Dan Russo. Arranged by Daniel Kelley. 20th Centu...
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Small Ensemble Cello,Guitar,Piano,Violin - Level 4 - SKU: A0.530162 Composed by Gus Kahn, Ernie Erdman, Dan Russo. Arranged by Daniel Kelley. 20th Century,Broadway,Jazz,Musical/Show,Pop. Score and parts. 13 pages. Last Resort Music Publishing #2082111. Published by Last Resort Music Publishing (A0.530162). Perform this upbeat hit sung by Al Jolson in the Academy Award Winning movie, The Jazz Singer. This quintessential song will bring out the Swing in any small ensemble! Parts included in Set Music Sample Part 1 Violin Part 2 Cello Keyboard or Guitar Score (Parts 1-3 in C) Also playable by Two Violins & Cello or Flute & Oboe & Bassoon or String Trio (Violin, Viola, Cello), Piano Trio & More. The Keyboard Part is a full harmonization of Parts 2 and 3. Therefore, the arrangements could be played as a Piano Trio, or an entire trio could play with a pianist, as long as Part 1 is being played.
$8.95
Toot, Toot, Tootsie for C Instrument Trio
Toot, Toot, Tootsie for C Instrument Trio
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Trio à Cordes: violon, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Gus Kahn, Ernie Erdman, Dan Ru
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Daniel Kelley
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Toot, Toot, Tootsie for C Inst
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Last Resort Music Publishing
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SheetMusicPlus
Small Ensemble Cello,Flute,Guitar,Oboe,Piano Accompaniment,Violin - Level 4 - SKU: A0.530165 Composed by Gus Kahn, Ernie Erdman, Dan Russo. Arranged by ...
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Small Ensemble Cello,Flute,Guitar,Oboe,Piano Accompaniment,Violin - Level 4 - SKU: A0.530165 Composed by Gus Kahn, Ernie Erdman, Dan Russo. Arranged by Daniel Kelley. 20th Century,Broadway,Jazz,Musical/Show,Pop. Score and parts. 13 pages. Last Resort Music Publishing #2082119. Published by Last Resort Music Publishing (A0.530165). Perform this upbeat hit sung by Al Jolson in the Academy Award Winning movie, The Jazz Singer. This quintessential song will bring out the Swing in any small ensemble! Parts included in Set Music Sample Part 1 C Intruments Part 2 C Instruments Keyboard or Guitar Score (Parts 1-3 in C) Also playable by Two Violins & Cello or Flute & Oboe & Bassoon or String Trio (Violin, Viola, Cello), Piano Trio & More. The Keyboard Part is a full harmonization of Parts 2 and 3. Therefore, the arrangements could be played as a Piano Trio, or an entire trio could play with a pianist, as long as Part 1 is being played.
$8.95
Toot, Toot, Toostie for String Trio- Violin, Violin, Cello
Toot, Toot, Toostie for String Trio- Violin, Violin, Cello
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Trio à Cordes: 2 violons, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Gus Kahn, Ernie Erdman, Dan Ru
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Daniel Kelley
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Toot, Toot, Toostie for String
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Last Resort Music Publishing
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SheetMusicPlus
String Ensemble,String Trio Cello,Violin - Level 4 - SKU: A0.530160 Composed by Gus Kahn, Ernie Erdman, Dan Russo. Arranged by Daniel Kelley. 20th Centu...
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String Ensemble,String Trio Cello,Violin - Level 4 - SKU: A0.530160 Composed by Gus Kahn, Ernie Erdman, Dan Russo. Arranged by Daniel Kelley. 20th Century,Broadway,Jazz,Musical/Show,Pop. Score and parts. 12 pages. Last Resort Music Publishing #2082099. Published by Last Resort Music Publishing (A0.530160). Perform this upbeat hit sung by Al Jolson in the Academy Award Winning movie, The Jazz Singer. This quintessential song will bring out the Swing in any small ensemble! Parts included in Set Music Sample Part 1 Violin Part 2 Violin Part 3 Cello Score (Parts 1-3 in C) Also playable by Two Violins & Cello or Flute & Oboe & Bassoon or String Trio (Violin, Viola, Cello), Piano Trio & More. The Keyboard Part is a full harmonization of Parts 2 and 3. Therefore, the arrangements could be played as a Piano Trio, or an entire trio could play with a pianist, as long as Part 1 is being played.
$8.95
Toot, Toot, Toostie for Sting, Woodwind, or Piano Trio Full Set of Parts
Toot, Toot, Toostie for Sting, Woodwind, or Piano Trio Full Set of Parts
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Trio à Cordes: violon, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Gus Kahn, Ernie Erdman, Dan Ru
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Daniel Kelley
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Toot, Toot, Toostie for Sting,
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Last Resort Music Publishing
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SheetMusicPlus
Large Ensemble Bassoon,Cello,Clarinet,Flute,Guitar,Oboe,Piano,Viola,Violin - Level 4 - SKU: A0.530159 Composed by Gus Kahn, Ernie Erdman, Dan Russo. Arr...
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Large Ensemble Bassoon,Cello,Clarinet,Flute,Guitar,Oboe,Piano,Viola,Violin - Level 4 - SKU: A0.530159 Composed by Gus Kahn, Ernie Erdman, Dan Russo. Arranged by Daniel Kelley. 20th Century,Broadway,Jazz,Musical/Show,Pop. Score and parts. 23 pages. Last Resort Music Publishing #2082095. Published by Last Resort Music Publishing (A0.530159). Perform this upbeat hit sung by Al Jolson in the Academy Award Winning movie, The Jazz Singer. This quintessential song will bring out the Swing in any small ensemble! Parts included in Set Music Sample Part 1 Flute or Oboe or Violin Part 1 Clarinet Part 2 Flute or Oboe or Violin Part 2 Clarinet Part 2 Viola Part 3 Cello or Bassoon Part 3 Bass Clarinet Keyboard or Guitar Score (Parts 1-3 in C) Playable by Two Violins & Cello or Flute & Oboe & Bassoon or String Trio (Violin, Viola, Cello), Piano Trio & More. The Keyboard Part is a full harmonization of Parts 2 and 3. Therefore, the arrangements could be played as a Piano Trio, or an entire trio could play with a pianist, as long as Part 1 is being played.
$16.95
Too Much To Think
Too Much To Think
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Batterie
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FACILE
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311
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Carlos Sanchez
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Too Much To Think
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Carlos Sanchez
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SheetMusicPlus
Drum Set,Drums - Level 2 - SKU: A0.1233588 By 311. By John William Feldmann, Matt Pauling, Nick Hexum, Zachary Cervini, and Zakk Cervini. Arranged by Ca...
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Drum Set,Drums - Level 2 - SKU: A0.1233588 By 311. By John William Feldmann, Matt Pauling, Nick Hexum, Zachary Cervini, and Zakk Cervini. Arranged by Carlos Sanchez. Grunge,Instructional,Reggae,Rock. Score. 4 pages. Carlos Sanchez #829172. Published by Carlos Sanchez (A0.1233588). Drumset transcription of Too Much To Think(album version) by 311; originally performed by Chad Sexton; transcribed/arranged by Carlos Sanchez. Sanchez is a professional percussionist with nearly 30 years of experience transcribing and/or arranging music for marching bands, drumlines, and cover bands. Sanchez prides himself on the accuracy of his transcriptions and you should be able to easily play along with the original album version of this song. Be sure to look for other publications by Carlos Sanchez. Have fun and enjoy!Drumset Transcriptions:Amber - 311Beautiful Disaster - 311Breakout - Foo FightersCochise - AudioslaveCome Out and Play - The OffspringCrazy Bitch - BuckcherryGo With The Flow - Queens Of The Stone AgeI Hate Everything About You - Three Days GraceInside Our Home - 311Inside The Fire - DisturbedJudith - A Perfect CircleJudith(Easy Version) - A Perfect CircleJust A Girl - No DoubtLive Wire - Motley CrueMonkey Wrench - Foo FightersOn A Roll - 311Panama - Van HalenPerfect Mistake - 311Places That The Mind Goes - 311Pretty Fly(For A White Guy) - The OffspringRun - Foo FightersRunning - 311Self Esteem - The OffspringSex Type Thing - Stone Temple PilotsShow Me How To Live - AudioslaveSquare Hammer - GhostThis Dying Soul - Dream TheaterToo Much To Think - 311Tribute - Tenacious DUnchained - Van HalenBass Transcriptions:This Dying Soul - Dream TheaterVacant - Dream TheaterMarching Band Arrangements:Come Out and Play - The OffspringFull Band Transcriptions:Vacant - Dream Theater
$5.99
"Clarinet Concert Concertino" for Wind Band based on music by A.E.Williams arranged by S.Davies
"Clarinet Concert Concertino" for Wind Band based on music by A.E.Williams arranged by S.Davies
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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A
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Stephen Davies
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"Clarinet Concert Concert
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Stephen Davies
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.891956 Composed by A.E.Williams. Arranged by Stephen Davies. 20th Century,Standards. Score and Parts. 74 pages. Stephen...
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Concert Band - Level 4 - SKU: A0.891956 Composed by A.E.Williams. Arranged by Stephen Davies. 20th Century,Standards. Score and Parts. 74 pages. Stephen Davies #6094485. Published by Stephen Davies (A0.891956).   CLARINET CONCERT CONCERTINO FOR WIND BAND I don’t normally enter long descriptions of my arrangements, nothing worse than seeing that little sign on the bottom right saying ‘see more’, however this piece has a rather interesting story that I’d like to share with you! It was maybe 8 or 9 years ago that I helped in the library of the Band Of The Guards Association, a group of musicians who were all members of the Household Division Bandsin London, that is to say the Grenadier, Coldstream, Scots, Irish, Welsh, Life Guards and Blues & Royals bands, chiefly known the world over for Changing The Guard at Buckingham Palace and many other ceremonial occasions. The Band Of The Guards Association were privileged to rehearse at the Royal Hospital Chelsea, home of the famous Chelsea Pensioners, renowned for their Redcoats and medals as veterans of the British Army. Our library of music for the band at the time was held in an air raid shelter deep in the cellars underneath the labyrinthine corridors of the old building built by Sir Christopher Wren back in the 1680’s. When I say ‘air raid shelter’, that is exactly what it was like! Can’t go into too much detail, but suffice it to say that it was like being transported back in time! But this is where the library was kept, complete with dusty shelves, blackout warnings, obsolete bulb replacements and tunnels to the Thames! The man in charge of the library was Mr.Gordon ‘Joe’ Stafford, former Solo Clarinet with HM Band Of The Welsh Guards (ret’d), a fine player of that instrument in his day, and revered as such even now. About 8 years ago, our ‘underground ‘ library was deemed a fire hazard, and we were ‘invited’ to move it elsewhere. As we had our practice room nearby in the Chelsea Hospital, we decided to relocate the whole library there, shelving being built and constructed by enthusiastic band members. Joe Stafford and myself were not particularly enthusiastic about this, but it had to be done. Having looked at the enormous amount of music to be moved, we thought about ditching some of the scores which would never be played again, for instance selections of musicals long forgotten, scores with multiple missing parts etc. Lots of that music went to local music organisations simply for sight reading purposes, and the more complete versions went to bands and orchestras to bolster their stock of scores. After the laborious sorting out in the air raid shelter, Joe and I had the unenviable task of discarding the scores and parts that were incomplete, defaced, or just basically useless. It was an arbitrary case of ‘keep or throw’, and at the time we were doing this, Joe was desperate for a pint in the bar! I agreed, and was anyway on my last batch of throwaways when I found a piece titled ‘Clarinet Concerto’, by A.E.Williams. Written in pencil, with ancient sellotape, and signed by all the people who played it many years ago, including the Soloist and composer, I thought that that should not be binned, so I kept it! Joe Stafford suggested that I should ‘get it out there’ , so I have. Incidentally it has a cracking Cadenza towards the end, it was a bit smudged in the original score, but I’ve filled in the gaps!! This would be an ideal addition to the band repertoire for Clarinet!
$49.99
You Took The Words Right Out Of My Mouth
You Took The Words Right Out Of My Mouth
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Chorale SSAA
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INTERMÉDIAIRE/AVANCÉ
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Meat Loaf
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Michael Thomas Coull
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You Took The Words Right Out O
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MTC Publishing
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SheetMusicPlus
Choral Choir,Choral (SSAA) - Level 4 - SKU: A0.1267123 By Meat Loaf. By Jim Steinman. Arranged by Michael Thomas Coull. 20th Century,Contemporary,Pop,Ro...
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Choral Choir,Choral (SSAA) - Level 4 - SKU: A0.1267123 By Meat Loaf. By Jim Steinman. Arranged by Michael Thomas Coull. 20th Century,Contemporary,Pop,Rock,Standards. 18 pages. MTC Publishing #859757. Published by MTC Publishing (A0.1267123). You Took The Words Right Out Of My Mouth - Choral Arrangement for SSAA and Piano by Michael Thomas Coull.You Took the Words Right Out of My Mouth (also known as You Took the Words Right Out of My Mouth (Hot Summer Night)) is the first solo single by the American singer Meat Loaf, released in 1977.  It is a track from his album Bat Out of Hell, written by Jim Steinman. According to his autobiography, Meat Loaf asked Jim Steinman to write a song that was not 15 or 20 minutes long, and, in Meat Loaf’s words, a ‘pop song’.  His autobiography also dates the writing of the song to 1975, the song reportedly being a key factor in Meat Loaf and Steinman deciding to do an album together. The song was the first single released from the album, with an edit of For Crying Out Loud as the B-side.  The record peaked at No. 73 in the Record World singles chart, and didn't appear at all in Billboard Hot 100.  Billboard reviewed the single, finding the guitar introduction to be energetic, the beat to be ‘catchy’ and the vocal performance to be somewhat similar to Bruce Springsteen. Billboard also commented on how occasional pauses in the instruments allow the ‘infectious’ vocals to be highlighted.  Following the success of the next two singles, Two Out of Three Ain't Bad and Paradise by the Dashboard Light, the song was re-released in October 1978 with Paradise as the B-side.  This issue peaked at No. 39 on the Billboard Hot 100 chart, over a year after the first release of the song.This exciting and energetic choral arrangement is voiced for SSAA women's choir with piano accompaniment, and will lend a touch of contemporary pop/rock to your next concert.Also available for SATB.
$3.99
You Took The Words Right Out Of My Mouth
You Took The Words Right Out Of My Mouth
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Meat Loaf
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Michael Thomas Coull
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You Took The Words Right Out O
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MTC Publishing
#
SheetMusicPlus
Choral Choir,Choral (SATB) - Level 4 - SKU: A0.1267125 By Meat Loaf. By Jim Steinman. Arranged by Michael Thomas Coull. 20th Century,Contemporary,Pop,Ro...
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Choral Choir,Choral (SATB) - Level 4 - SKU: A0.1267125 By Meat Loaf. By Jim Steinman. Arranged by Michael Thomas Coull. 20th Century,Contemporary,Pop,Rock,Standards. 18 pages. MTC Publishing #859760. Published by MTC Publishing (A0.1267125). You Took The Words Right Out Of My Mouth - Choral Arrangement for SATB and Piano by Michael Thomas Coull.You Took the Words Right Out of My Mouth (also known as You Took the Words Right Out of My Mouth (Hot Summer Night)) is the first solo single by the American singer Meat Loaf, released in 1977.  It is a track from his album Bat Out of Hell, written by Jim Steinman. According to his autobiography, Meat Loaf asked Jim Steinman to write a song that was not 15 or 20 minutes long, and, in Meat Loaf’s words, a ‘pop song’.  His autobiography also dates the writing of the song to 1975, the song reportedly being a key factor in Meat Loaf and Steinman deciding to do an album together.  The song was the first single released from the album, with an edit of For Crying Out Loud as the B-side.  The record peaked at No. 73 in the Record World singles chart, and didn't appear at all in Billboard Hot 100.  Billboard reviewed the single, finding the guitar introduction to be energetic, the beat to be ‘catchy’ and the vocal performance to be somewhat similar to Bruce Springsteen.  Billboard also commented on how occasional pauses in the instruments allow the ‘infectious’ vocals to be highlighted.   Following the success of the next two singles, Two Out of Three Ain't Bad and Paradise by the Dashboard Light, the song was re-released in October 1978 with Paradise as the B-side.  This issue peaked at No. 39 on the Billboard Hot 100 chart, over a year after the first release of the song.This exciting and energetic choral arrangement is voiced for full SATB choir with piano accompaniment, and will lend a touch of contemporary pop/rock to your next concert.Also available for SSAA.
$3.99
The Wiggly Tooth
The Wiggly Tooth
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Piano Facile
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DÉBUTANT
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Lori Cummings
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The Wiggly Tooth
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Lori Cummings
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.762386 Composed by Lori Cummings. Children,Folk,Instructional,Singer/Songwriter,Traditional. Score. 6 pages. Lori Cumming...
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Easy Piano - Level 1 - SKU: A0.762386 Composed by Lori Cummings. Children,Folk,Instructional,Singer/Songwriter,Traditional. Score. 6 pages. Lori Cummings #5286751. Published by Lori Cummings (A0.762386). Composed for a little girl with a wiggly tooth, this song, originally composed as a choral piece, has been transposed for her to learn to play on the piano since she had so much fun learning to sing it. Arranged in Middle C Position, this song talks about how she discovered that she had a loose tooth and her experience with it. The favourite part is always the chorus where you wiggle the tooth back and forth, singing Wiggle, wiggle, wiggle, wiggle, wiggle all day long. Wiggle, wiggle, wiggle, wiggle, wiggle, sing a wiggle song. Wiggle in the morning, wiggle it at noon. Wiggle, wiggle, wiggle, wiggle, hope it comes out soon! It has a very catchy melody that you and your students will love to sing as you learn this song. It's simple and has a special ending! It's a great song for recitals or concerts, or just for learning for fun.Be sure to also check out my choral version of the song, also available for sale on Sheet Music Plus! .
$4.75
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
Killarney Carnivale
Killarney Carnivale
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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John P
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Killarney Carnivale
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John P.W. Hudson #872903.
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.1281978 Composed by John P.W. Hudson. 20th Century,Contest,Festival. Score and Parts. 90 pages. 'Published by John P.W....
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Concert Band - Level 4 - SKU: A0.1281978 Composed by John P.W. Hudson. 20th Century,Contest,Festival. Score and Parts. 90 pages. 'Published by John P.W. Hudson #872903. Published by 'Published by John P.W. Hudson (A0.1281978). Premiered June 6th, 2023 by the Killarney Senior Wind Ensemble and Alumni directed by Meagan Lawson, 'Killarney Carnivale' is a programmatic piece describing a small town carnival in rural Manitoba in the early 1930's, spotlighting the family of the town dentist, Dr. Martin McLaren, his wife Irene, and their six girls. 'Killarney Carnivale' describes a fictitious event, but the family is that of the composer, John Hudson. His mother, (second in a family of six girls), as a young teen in Killarney Manitoba, loved playing piano and aspired to be a concert pianist playing her favourite composers in concert halls. Her dreams took a different turn when the family had to move west for Dr. McLaren's health, but she carried with her the melodies she composed and later played to her own children.Picture John Hudson listening to hours of his mother playing piano as a young boy in the early 1950's, immersed in his mother's beautiful music. After her passing in 2010, he longed to hear these beautiful, playful melodies again. His sister Jane Keyes had become a professional piano player and happily took up the task of recreating several of their mother's pieces, which John, now a retired band director, began to transcribe. Inspired by a photograph of the family that very much looked like a carnival booth style photograph, 'Killarney Carnivale' came to life. It opens as the youngest, probably under age two at the time, wakes up. The scene swiftly changes to arrival at the much - anticipated carnival, with all of its magical sights, sounds and heavenly smells of popcorn and treats. First is the carousel, with wooden horses flying about in endless circles with children regaling with laughter.The next is a sideshow tent featuring the exotic dancer Salome, who wiled King Herod, (and probably more than a few in the audience) as her thin, tantalizing veils hinted at her charms.The next tent is dim and displays the wierd and mysterious curiosities from around the world like bearded ladies, dwarfs and the like.The cakewalk is next, with children vying to be the last person sitting as chairs are removed and the music abruptly stops each time. (This section could host a real cakewalk with a few chairs and willing audience participation. Three chairs is suggested.)Finally, the exhausted family drives home in their antique (to us) automobile with the childrens' hair flying in the breeze.One by one, the excited children fall prey to dreamland, and at long last, the exhausted parents flop into bed too.Honouring his mother's short pieces has been a life long dream of Mr. Hudson, and to hear them played by the Killarney Wind Ensemble and Alumni Band was a poignant moment: the return of these melodies to the little town where they first came to life. Many, many thanks to Meagan Lawson, their director, and all of the members of the Killarney band who so very willingly took up the challenge of playing 'Killarney Carnivale'. Their hard work and dedication to this piece is deeply, deeply appreciated.
$60.00
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
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
I'm Gonna Sit Right Down And Write Myself A Letter
I'm Gonna Sit Right Down And Write Myself A Letter
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Billy Williams
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I'm Gonna Sit Right Down And W
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Martyn Johnson
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1427036 By Billy Williams. By Fred E. Ahlert and Joe Young. Arranged by Martyn Clive Johnson (aka Martycli Piano Guy). 20...
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Piano Solo - Level 4 - SKU: A0.1427036 By Billy Williams. By Fred E. Ahlert and Joe Young. Arranged by Martyn Clive Johnson (aka Martycli Piano Guy). 20th Century,Broadway,Comedy,Jazz,Musical/Show,Ragtime. Score. 8 pages. Martyn Johnson #1007767. Published by Martyn Johnson (A0.1427036). My arrangement is a tribute to the old Fat's Waller recording. It's not copied from that rendition at all but I have arranged it as a stride piano piece and hope it exudes some of the joy that Mr Waller brought to it.I take it through three iterations in C, Db and D major, going up a semi-tone each time - so plenty of practice in trickier keys. I don't include dynamics in my notation nor fingering and pedalling as I prefer to leave these to the discretion of the individual pianist. You will never get two piano teachers to agree on these things. I like to give the reader the notes as simply as possible and leave the interpretation up to them. Similarly with voicings - some notes will be held longer instinctively by the pianist than others and do not need to be placed in separate voicings to make them difficult to read.The stride piano left hand often contains 10ths which can be too large a span for some pianists. The solution is to roll them or to just play them as a single bass note on the root of the chord or as an octave.This is a wonderfully joyous piece and I hope you get as much pleasure from learning and playing it as I did arranging it.
$4.99
Pure Imagination
Pure Imagination
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Harpe
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INTERMÉDIAIRE
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Mormon Tabernacle Choir
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Rachael Acheson
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Pure Imagination
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TheHarpLibrarian
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SheetMusicPlus
Lever Harp - Level 3 - SKU: A0.1352847 By Mormon Tabernacle Choir. By Anthony Newley and Leslie Bricusse. Arranged by Rachael Acheson. 20th Century,Broa...
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Lever Harp - Level 3 - SKU: A0.1352847 By Mormon Tabernacle Choir. By Anthony Newley and Leslie Bricusse. Arranged by Rachael Acheson. 20th Century,Broadway,Film/TV,Musical/Show,Pop. Score. 4 pages. TheHarpLibrarian #937661. Published by TheHarpLibrarian (A0.1352847). This beautiful arrangement of Pure Imagination from the film Willy Wonka and the Chocolate Factory -- debuted by Gene Wilder but more recently covered by Timothée Chalamet -- taps both into the sense of childhood innocence and wonder encapsulated by the song's lyrics, as well as into the quirky nature of the character of Wonka.The arrangement is two-and-a-half pages long and fitted specifically to small, 26-string lever harp, like Rees Harpsicle or Dusty Strings Ravenna. It could also easily be modified for 24-string harp models, like Harp-E, if measures 22-25 were played an octave lower than written and the high F in measure 48 were omitted.Skillwise, the arrangement it sits solidly at an intermediate level and contains only two quick lever changes, both on the same string. If you are an experienced harpist, you can probably sight-read it without too much difficulty. You will, however, need to be comfortable with playing harmonics to play it as written. If you are not comfortable playing harmonics, you could absolutely modify the piece by simply plucking each note written as a harmonic an octave higher than notated. It will sound better, however, with harmonics played as written.Please note that the preview cuts off after the first half-page of score. When you download your purchase, you will recieve a pdf that contains both the preview and the full score.
$5.99
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How Long Will Be Too Long
