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If The World Should End
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Vous avez sélectionné:
If The World Should End
Partitions à imprimer
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If The World Should End
If The World Should End
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Piano, Voix et Guitare
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Bono & The Edge and Spider Man
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Pop
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If The World Should End
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Bono & The Edge and Spider Man: Turn Off The Dark (Musical). For piano, voice and guitar (chords only). Broadway; Pop; Rock. Piano/Vocal/Guitar. 7 pages. Pub...
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By Bono & The Edge and Spider Man: Turn Off The Dark (Musical). For piano, voice and guitar (chords only). Broadway; Pop; Rock. Piano/Vocal/Guitar. 7 pages. Published by Hal Leonard - Digital Sheet Music
$4.99 ≈
4.51€
King Of The Road
King Of The Road
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Contemporain
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Randy Travis
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Keith Terrett
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English title
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King Of The Road
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Keith Terrett
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SheetMusicPlus
Bassoon,Clarinet,Flute,Oboe - Level 3 - SKU: A0.747086 By Randy Travis. By Roger Miller. Arranged by Keith Terrett. Contemporary. 27 pages. Keith Terret...
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Bassoon,Clarinet,Flute,Oboe - Level 3 - SKU: A0.747086 By Randy Travis. By Roger Miller. Arranged by Keith Terrett. Contemporary. 27 pages. Keith Terrett #6426723. Published by Keith Terrett (A0.747086). An arrangement of the classic King of the Road for Wind Dectet.King of the Road is a song written by country singer Roger Miller, who first recorded it in November 1964. The lyrics tell of the day-to-day life of a hobo who, despite being poor (a man of means by no means), revels in his freedom, describing himself humorously and cynically as the king of the road. It was Miller's fifth single for Smash Records. The popular crossover record hit No. 1 on the US Country chart, No. 4 on the Billboard Hot 100, and No. 1 on the Easy Listening surveys. It was also No. 1 in the UK Singles Chart, and in Norway. Miller recalled that the song was inspired when he was driving and saw a sign on the side of a barn that read, Trailers for sale or rent. This would become the opening line of the song.The song has been covered by many other artists, including George Jones, Dean Martin, Val Doonican, Jack Jones, James Booker, The Fabulous Echoes, Boney M., R.E.M., Johnny Paycheck, Glen Campbell, Alvin and the Chipmunks, Boxcar Willie, Randy Travis, Rangers, James Kilbane, John Stevens, the Statler Brothers, Rufus Wainwright & Teddy Thompson, Giant Sand, Peligro, John Williamson (singer) & Adam Harvey, The Proclaimers, Ray Conniff Singers, The Reverend Horton Heat, Jerry Lee Lewis, and Jim White. James The King Brown (an Elvis impersonator) performed the song for a 2001 Audi commercial on German TV. Of R.E.M.'s version, a shambolic, drunken, offhand rendering, guitarist Peter Buck would later comment, If there was any justice in the world, Roger Miller should be able to sue for what we did to this song.King of the Road was performed live by Merle Haggard, Willie Nelson, Marty Stuart, Dwight Yoakam and Dolly Parton during Miller's posthumous induction into the Country Music Hall of Fame at the 1995 CMA Awards ceremony.The song appears in Wim Wenders's 1976 film Im Lauf der Zeit (In the Course of Time; English title Kings of the Road). It is also played at the beginning of Talladega Nights: The Ballad of Ricky Bobby, Brokeback Mountain, Into the Wild (2007), Traveller (1997), and Swingers (1996). Miller performs it in the concert film The Big T.N.T. Show. The Proclaimers' version is included in the film The Crossing (1990). Near the end of their official music video, the pair are shown reading a newspaper whose headline is Roger Miller, King of Plugs.Miller's recording appears in an episode of the Super Dave TV show, where Super Dave Osborne (Bob Einstein) sings along while sitting at a piano mounted on top of his tour bus. The bus eventually goes into a low tunnel, slamming into the piano and Osborne and pushing them off the bus and onto the ground.A send-up version by English entertainer Billy Howard was a British chart hit in 1976.A German take by the band Wise Guys exists, the parody referring to speeding on the Autobahn.
$16.99 ≈
15.35€
The Dreaming Sea
The Dreaming Sea
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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New Age
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Contemporain
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Ben Ledochowski
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The Dreaming Sea
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Ben Ledochowski
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1023644 Composed by Ben Ledochowski. 20th Century,Contemporary,New Age. Score. 12 pages. Ben Ledochowski #6217585. Publis...
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Piano Solo - Level 4 - SKU: A0.1023644 Composed by Ben Ledochowski. 20th Century,Contemporary,New Age. Score. 12 pages. Ben Ledochowski #6217585. Published by Ben Ledochowski (A0.1023644). The Dreaming Sea was my first paid composition commission, a piece I wrote in April 2020. For the composition commission, my author friend Sterling Wisniewski requested me to score a short story of his, with the score I provided being expected to tell the story of the words through music and accompany original artwork. His short story is included as follows:A cardboard boat sifts the surface of the sea. A little girl,eyes closed, arms wide and crowned with a paper hat, stands at the front of the deck. Unsinkable - that's what she was. Her imagination bounced the boat on the tension of theworld, almost like it wasn't there. Her eyes were closed, yet she saw everything. On shore, a crowd of dirty sailors went about their work. Nasty mouths swore and harsh fists carried their cargo to their strong, dirty boat. A boy, no taller than a barrel, was in the midst of the buff shoulders and fit forearms. He peaked between the muscle mountains.He saw her. Eyes closed and arms wide, sailing away from the Sun and into the appearing Moon. The wind flapped her hair like the sail of a boat. The boy pried between the men and ran to the end of the dock, stuck his flat hand over his forehead to see. The boy could've sworn that she saw him. He could've sworn the boat swooped in a foot from his face. He could've sworn he heard her giggle. If anything, he thought he knew she saw him.The boy's father, the largest of all the men, wearing a real sailor's hat, gripped the boy's shoulder, spun him away from view of the cardboard boat, and without a word dragged him to the solid wooden ship in front of them. The robust crew pulled ropes and pushed out to set sail towards the setting Sun in the west.The boy soon slipped out of his father's grip and ran to the edge of the boat. Standing on his tiptoes, he hovered his eyes over the dock. There she was - eyes closed and arms wide, the wind flowing through her hair while her cardboard boat skipped the seas like a stone. he could've sworn she was thinking about him. he could've sworn he would see her again. He could've&n.
$5.99 ≈
5.41€
Anthem: Lift Up Your Heads for Mixed Chorus and Brass Quartet
Anthem: Lift Up Your Heads for Mixed Chorus and Brass Quartet
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Musique Sacrée
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Samuel Coleridge-Taylor
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Richard Decker
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Anthem: Lift Up Your Heads for
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Charles Decker Music Press
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SheetMusicPlus
B-Flat Trumpet,Baritone Horn TC/Euphonium,Choir,Trombone - Level 3 - SKU: A0.1156067 Composed by Samuel Coleridge-Taylor. Arranged by Richard Decker. 20...
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B-Flat Trumpet,Baritone Horn TC/Euphonium,Choir,Trombone - Level 3 - SKU: A0.1156067 Composed by Samuel Coleridge-Taylor. Arranged by Richard Decker. 20th Century,Christmas,Contest,Easter,Festival,Praise & Worship. 42 pages. Charles Decker Music Press #756379. Published by Charles Decker Music Press (A0.1156067). Samuel Coleridge-Taylor was an early 20th century English composer and conductor who was an influential advocate for Black composers. His numerous choir anthems offer dramatic performance opportunities for church or the concert hall. His festival anthem SATB choral anthem Lift Up Your Heads is an expressive and dramatic work enhanced with brass quartet accompaniment of two B-flat trumpets and two trombones with alternate F horn and treble clef euphonium parts provided for the trombone parts. The organ/piano part can be used for chorus preparation as well as additional support for performances if desired. However, not using the keyboard part in its entirety for a performance in addition to the brass group will create a more interesting interplay of different timbres. Conductors should ensure accompaniment parts don't overwhelm the chorus especially if the keyboard part is added with the brass. The recording is of the entire edition.Use this link to see all the Charles Decker Music Press Christmas holiday music for mixed brass and homogeneous groups.“The Music of Black Composers Series is a welcome and timely addition to the brass repertoire. Interesting music, expertly arranged, fun to perform, and well received by audiences. Highly recommended!†Wesley Nance, Rochester Philharmonic Orchestra, Eastman School of Music “I was so pleased to see the great works arranged for brass ensemble by Charles Decker Music Press especially the Music of Black Composers’ Series. It was especially rewarding to perform several of these with Summit Brass and with the students attending the Rafael Mendez Brass institute. Please keep these wonderful settings coming. You have provided the brass world with some real gems.† Joseph Parisi, Director Summit Brass, Fountain City Brass Band, University of Missouri Kansas City Conservatory Wind EnsembleThe Interlochen Arts Academy and the University of Denver have purchased the Music of Black Composer Series with Charles Decker Music Press and the summer Rafael Mendez Brass Institute and Eastman School of Music uses the series arrangements in their chamber and brass ensembles music programs. See 50+ homogeneous brass editions for trumpet, horn and trombone ensembles and 75+ mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. To see our Music of Black Composers Series enter “Black Composers Series†in the search box at Charles Decker Music Press for 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others. Use this link to Cherry Classics Music to see Richard Decker arrangements of Cherubini’s Sonata in F for Solo Horn and Wind Ensemble and Coleridge-Taylor’s Sea Drift for Trombone Octet.
$19.99 ≈
18.06€
The Arban Manual (Pre 2013)
The Arban Manual (Pre 2013)
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Trompette
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INTERMÉDIAIRE/AVANCÉ
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Methodes
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Eric Bolvin
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The Arban Manual
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SheetMusicPlus
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Reper...
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 75 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the older Carl Fischer Arban Method.
Description
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice.
Why
Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.
How
A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.
Range Considerations
Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.
If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress.
Warming Up
One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.
Performance Etudes
I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.
All of the characteristic studies and celebrated fantaisies are considered performance pieces.
Models
Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.
The Hard Stuff
At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book.
Multiple Tonguing
Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation.
Extending Exercises
Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.
Transposition
Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.
The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.
Songs and duets
Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so.
For bass clef instruments
Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.
The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
$16.95 ≈
15.31€
The Arban Manual - Hooten Edition
The Arban Manual - Hooten Edition
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Trompette
#
INTERMÉDIAIRE/AVANCÉ
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Methodes
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Eric Bolvin
#
The Arban Manual - Hooten Edit
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SheetMusicPlus
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire,...
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 76 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the newer, Hooten edition published by Fischer.
Why
Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.
How
A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.
Range Considerations
Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.
If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress.
Warming Up
One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.
Performance Etudes
I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.
All of the characteristic studies and celebrated fantaisies are considered performance pieces.
Models
Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.
The Hard Stuff
At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book.
Multiple Tonguing
Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation.
Extending Exercises
Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.
Transposition
Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.
The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.
Songs and duets
Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so.
For bass clef instruments
Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.
The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
About SMP Press
$16.95 ≈
15.31€
The Four Horsemen (unaccompanied sax)
The Four Horsemen (unaccompanied sax)
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Saxophone
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AVANCÉ
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Brandon Nelson
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The Four Horsemen
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Brandon Nelson
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SheetMusicPlus
Instrumental Solo,Saxophone - Level 5 - SKU: A0.1202307 Composed by Brandon Nelson. 20th Century,Chamber,Christian,Classical,Contemporary. Individual pa...
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Instrumental Solo,Saxophone - Level 5 - SKU: A0.1202307 Composed by Brandon Nelson. 20th Century,Chamber,Christian,Classical,Contemporary. Individual part. 11 pages. Brandon Nelson #800991. Published by Brandon Nelson (A0.1202307). Dr. Brian Kauth assembled a consortium of saxophone players to commission me to write a piece in four movements, each to be for a different member of the saxophone family(soprano, alto, tenor, baritone). He chose the theme of the “four horsemen of the apocalypse†because, as he puts it, “the saxophone was long considered ‘the devil’s instrument’due to the seedy and sultry qualities associated with it.â€ProgramThe story of the Four Horsemen comes from the biblical Book of Revelation. Each of the Horsemen is said to represent events that are supposed to usher in the Apocalypse, the final battle between good and evil. As with many biblical passages, there are numerous interpretations of this account debated among theologians. Those that I’ve taken in thispiece are strictly based on my own aesthetic requirements and should not be construed as taking any particular sides in these spiritual debates.The Four Horsemen symbolize the evils to come before the end of the world. It is said that a quarter of the world’s population is to be wiped out by a combination of these ills. The Horsemen pave the way for the finalbattle, the final judgement, and the Second Coming.The account begins with the White Horsemen, symbolizing pestilence. Next comes the Red Horse, representing war. Then the Black Horse, bringing widespread famine, especially against the poor of the world.Finally, the Pallid Horse, the personification of Death, reaping his reward in the victims of the tribulations.Performance NoteEach movement is assigned a different member of the saxophone family. Ideally it should be performed as such. However, if you do not have access to all four saxes, you may perform the movements on the sax or saxesof your choosing. The movements are written such that they will sound satisfactory on any of the saxes.
$12.99 ≈
11.73€
If Not Now, When?
If Not Now, When?
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Contemporain
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Chris Gordon
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If Not Now, When?
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Cool Wind Music Digital
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SheetMusicPlus
Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - SKU: A0.841258 Composed by Chris Gordon. 20th Century. Score and parts. 39 pa...
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Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - SKU: A0.841258 Composed by Chris Gordon. 20th Century. Score and parts. 39 pages. Cool Wind Music Digital #3056419. Published by Cool Wind Music Digital (A0.841258). Full set of parts: Please contact Chris Gordon at the email address on the first page of music for details.IF NOT NOW, WHEN? If Not Now, When? gets its title from the novel by Primo Levi, the Italian author who both survived life in Auschwitz and fought the continued German military presence in Italy with the Resistance after the Italian surrender to the Allies in September 1943. Levi meant that revolution and the overthrow of tyranny should never be 'put off until tomorrow'. If you believe you are on the side of right, then 'seize the day'- tomorrow may be too late. The inspiration for INNW? grew from research I was doing into an early song by Alban Berg called An Leukon which Berg wrote in 1907 while a student of Arnold Schoenberg. In delving into the kind of world which Berg inhabited in the Vienna of 100 years ago, I was fascinated by the café culture* which played a pivotal role in the lives of most artists: not only composers, but also writers, painters, architects and journalists. They swirled around the fashionable 'watering holes' sucking up current thoughts and ideas, high on Viennese coffee, cigar smoke and idealism! I envisaged a play which tried to encapsulate all this and wrote a few scenes with characters such as Schoenberg, Berg, Webern, Steuermann, Pisk, Kraus, Gropius and Altenberg heatedly discussing music, art and poetry over large cups of milky coffee. This grew into the framework for INNW? which, to paraphrase Pirandello's play about characters seeking an author, is a 'play without words in several scenes'. The piece is organised into 8 short movements or 'scenes' showing the 'Schoenberg cirle' sharing their radical and daring ideas and the shock or delight (or both simultaneously) with which those ideas are greeted. The first, which happens to be the longest, is rooted in conventional tonality. It begins with a fanfare in D flat major ('aux armes, citoyens!'), then seeks a 'freer' tonality by means of the 'emancipation of the semitone' only to capitulate in the central section and, finally, to 'fall back to earth' by winding down in G sharp minor. These 'scenes' are not meant to represent particular composers. They are, however, meant to represent the kinds of directions in which music could progress, given the 'breakdown' or 'stretching to its limits' of traditional harmony which had occurred in the previous 10 to 20 years. So many ways forward were promulgated, with one after another extraordinary, and often unexpected, futuristic musical panoramas glimpsed momentarily. My aim is to demonstrate which directions they decided they could head in having cleared the 'overgrown' path before them. * I even discovered that, around this time, in the Café Central, a certain Leon (Lev) Bronstein, otherwise known as Leon Trotsky, banished by the Okhrana (Imperial secrect police) from his native Russia, would spend all day in a back room playing chess. How delicious, I thought, if Schoenberg had ever brushed passed Trotsky or, indeed, had ever spoken to him: the one planning political and the other musical revolution!
$25.00 ≈
22.58€
Sound the Bell of Holy Freedom: Come to Us, O Holy Spirit (Downloadable Concertato Choral Score)
Sound the Bell of Holy Freedom: Come to Us, O Holy Spirit (Downloadable Concertato Choral Score)
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Chorale SATB
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FACILE
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Normand Gouin
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Sound the Bell of Holy Freedom
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MorningStar Music Publishers - Digital Sheet Music
#
SheetMusicPlus
Congregation, SATB choir, brass quintet, timpani, suspended cymbal, organ - Moderately Easy - SKU: MQ.60-6015-E Composed by Normand Gouin. Cathedral Ser...
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Congregation, SATB choir, brass quintet, timpani, suspended cymbal, organ - Moderately Easy - SKU: MQ.60-6015-E Composed by Normand Gouin. Cathedral Series. Ordination, Pentecost, Confirmation, Ordination/Installation, 21st Century. Instrument parts. 12 pages. MorningStar Music Publishers - Digital Sheet Music #60-6015-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.60-6015-E). English.This new hymn, with words by Andrew Ciferni and music by Normand Gouin, was chosen as the official hymn of the World Meeting of Families 2015, and it will be used at the liturgies in Philadelphia during Pope Francis' first visit to the United States. This festive concertato features brass and percussion, and includes a special introduction appropriate for a solemn procession. The arrangement may also be pared down to fit available musical resources and liturgical use. It includes a second text, by Anthony Corvaia, that invokes the Holy Spirit and is appropriate for general use and for Pentecost. A special optional verse is provided for use at Confirmation and Ordination.Instrumental parts packet includes: Trumpets I and II C and in B-flat, Trombones I and II, Horn in F (sub for Trombone I), Bass Trombone/Tuba, Timpani, Suspended Cymbal, OrganNotes regarding Congregation Card Pack, 60-6015C: Printed on white card stock and are sold in quantities of 50 packs. Dimensions: 5.5†width; 8.5†length. Notes regarding Downloadable Congregation Part, file_60-6015C-E:Purchaser may reproduce this page for the congregation under these circumstances:-With valid license from OneLicense or LicenSing. -Usage must be reported to either OneLicense or LicenSing. -Copyright notice must be included. -If the purchaser does not have a license from OneLicense or LicenSing, one may be obtained directly from the publisher. Click here to email the MorningStar Music Publishers Copyright Department. -If the purchaser does not wish to purchase a license, then they should purchase the printed congregational cards, product 60-6015C. Notes regarding SATB/Accompaniment Hymn Only:This publication serves as the accompaniment to the hymn Sound the Bell of Holy Freedom. The publication may also be used as a simple SATB version for the choir. If used by the choir, multiple copies need to be purchased. -Reprint permission is not included with the purchase of this publication.-Multiple copies must be purchased for additional instrumentalists, or the choir.-This publication is available in two forms, either as a downloadable publication, or as a printed publication.
$2.65 ≈
2.39€
Come, Let Us Walk this Road Together
Come, Let Us Walk this Road Together
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Come, Let Us Walk this Road To
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SheetMusicPlus
Forty-three songs from Africa are included in this valuable resource. Like Tom Colvin's first collection of African hymns, Fill Us with Your Love (1983, Code No...
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Forty-three songs from Africa are included in this valuable resource. Like Tom Colvin's first collection of African hymns, Fill Us with Your Love (1983, Code No. 431), this collection includes English language translations of songs written for the churches in Africa
Song List
: Awake There, Arise As a Mother for Her Children Beat the Drums of Welcome Behold, the Holy Lamb of God Be Merciful to Us, O God Bless The Lord, O My Soul Chiuta Is Our Sure Defense Christ Yesu Was Born (Odi, Odi) Come, Let Us Seek Our God's Protection Come, Let Us Walk This Road Together Crowds Following Yesu Everyone's Rejoicing Gift of God to Humankind Glorious Light Has Dawned God Grant That We May Be Transformed God Sends Us the Spirit God's Home Is Here God, We Pray Here in Your Sight Great Chiuta Help Us, God, to Be Peace-makers He Must Die or All Will Perish Humbly in Your Sight If It's Peace You Long For, Friends Jesu, Jesu, Fill Us With Your Love Just as a Lamb Is Led to the Slaughter Leap, Leap My Soul Let the World Unite and Sing Life of the World Night Has Fallen Our Troubles Do Abound Should We Accept that Evil Means Sing Welcome to Our Savior To Loving Yesu, Our Dearest Friend We're Glad that We Belong to You We May Choose to Walk (Free to Serve) We Remember You, Our Yesu When Our Savior Yesu Went Away Yesu Bids Us Work for Peace and Justice Yesu Born in Bethlehem Yesu Our Child at Home Lies Dying Yesu's Calling You Who Wait to See a King
$13.95 ≈
12.60€
Fun and Games with the Recorder
Fun and Games with the Recorder
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Flûte à bec Soprano
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Enfant
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Fun and Games with the Recorde
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Schott Music - Digital
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SheetMusicPlus
Descant recorder - intermediate - Digital Download Method for descant recorder. This edition: method. Fun and games with the recorder. Downloadable. ...
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Descant recorder - intermediate - Digital Download Method for descant recorder. This edition: method. Fun and games with the recorder. Downloadable. Op Tutor Book 2. Schott Music - Digital #Q54874. Published by Schott Music - Digital
English.
A special method for beginners. First published by Schott in German in 1990. The translation and adaption into English has been made by Peter Bowman.
three Volumes for the descant recorder which advance in small steps and include many playful elements suitable for both group and individual lessons.
* Discover the adventure of learning the recorder
* Make real progress through games: breathing
* A mixture of lively new and traditional tunes
* Three supplementery tune books each with a sheet of stickers
* Teacher's commentary
* Join Dotty-do-a-lot and her friends in the exciting world of music
Fun and Games with the Recorder is a comprehensive recorder tutor covering all stages from the first notes of the beginner up to the point of preofessional instruction for budding performers. Although the recorder is often the instrument with wich children will make their first musical discoveries, it is also an instrument of the highest artistic merit. This series of books tries to link these two extremes, providing a carefully planned pathway between first, playful contact with the instrument and professional recorder playing.
The three Tutor Books are suitable for use both with small groups and for individual tuition. Progress is methodical and is made in small steps placing great value on consistent work with breathing, sound production and the development of rhythmic security.
In the Tutor books we speak directly to the child and provide carefully planned, precisely formulated exercises. We recognise that some children learning the recorder will not yet be able to read, but hope that this will provide an opportunity for a parent or teacher to become involved in the learning process. Each step in this process should be fun and accessable to both the parent/teacher and the child.
Tutor Book 1 is intended for children from about six years of age. Previous musical experience is not essential but undoubtedly would prove useful. It concentrates on the notes B, A, g, E1, C2 and D2, leaving sufficient time and space for the development of articulation, rhythmic security and breathing techniques. Tutor Book 2 adds the notes C1, D2, F2, E2, F2 and B flat, whilst Tutor Book 3 completes the range up to C3 - at which point the treble recorder can be introduced.
Tutor Books 1, 2 and 3 are complemented by Tune Books 1, 2 and 3. The tune Books are matched to the stages of learning process of the Tutor Books and provide additional practice pieces and exercises, sometimes with accompainment.
In the Teacher's Commentary we explain the teaching methodology behind the tutor and provide stimulation for ideas for lessons.
It will be helpful if the child has a manuscript book of her or his own, or some manuscript book. Dotty's Note Book (ED 12641) is specially designed for the purpose, with large staves suitable for children as well as plain pages for words and pictures.
We wish users of this tutor every success and happiness with their recorder playing.
$9.99 ≈
9.02€
Fun and Games with the Recorder
Fun and Games with the Recorder
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Flûte à bec Soprano
#
FACILE
#
Enfant
#
Fun and Games with the Recorde
#
Schott Music - Digital
#
SheetMusicPlus
Soprano recorder - easy - Method for descant recorder. This edition: method. Fun and games with the recorder. Downloadable. Op Tutor Book 1. Schott ...
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Soprano recorder - easy - Method for descant recorder. This edition: method. Fun and games with the recorder. Downloadable. Op Tutor Book 1. Schott Music - Digital #Q54873. Published by Schott Music - Digital
English.
A special method for beginners. First published by Schott in German in 1990. The translation and adaption into English has been made by Peter Bowman.
Three volumes for the descant recorder which advance in small steps and include many playful elements suitable for both group and individual lessons.
&bull. Discover the adventure of learning the recorder
&bull. Make real progress through games: breathing
&bull. A mixture of lively new and traditional tunes
&bull. Three supplementary tune books each with a sheet of stickers
&bull. Teacher's commentary
&bull. Join Dotty-do-a-lot and her friends in the exciting world of music
".Fun and Games with the Recorder". is a comprehensive recorder tutor covering all stages from the first notes of the beginner up to the point of professional instruction for budding performers. Although the recorder is often the instrument with which children will make their first musical discoveries, it is also an instrument of the highest artistic merit. This series of books tries to link these two extremes, providing a carefully planned pathway between first, playful contact with the instrument and professional recorder playing.
The three Tutor Books are suitable for use both with small groups and for individual tuition. Progress is methodical and is made in small steps placing great value on consistent work with breathing, sound production and the development of rhythmic security.
In the Tutor books we speak directly to the child and provide carefully planned, precisely formulated exercises. We recognise that some children learning the recorder will not yet be able to read, but hope that this will provide an opportunity for a parent or teacher to become involved in the learning process. Each step in this process should be fun and accessible to both the parent/teacher and the child.
Tutor Book 1 is intended for children from about six years of age. Previous musical experience is not essential but undoubtedly would prove useful. It concentrates on the notes B, A, G, E1, C2 and D2, leaving sufficient time and space for the development of articulation, rhythmic security and breathing techniques. Tutor Book 2 adds the notes C1, D2, E2, F2 and B flat, whilst Tutor Book 3 completes the range up to C3 - at which point the treble recorder can be introduced.
Tutor Books 1, 2 and 3 are complemented by Tune Books 1, 2 and 3. The Tune Books are matched to the stages of learning process of the Tutor Books and provide additional practice pieces and exercises, sometimes with accompaniment.
In the Teacher's Commentary we explain the teaching methodology behind the tutor and provide stimulation for ideas for lessons.
It will be helpful if the child has a manuscript book of her or his own, or some manuscript book. ".Dotty's Note Book". (ED 12641) is specially designed for the purpose, with large staves suitable for children as well as plain pages for words and pictures.
We wish users of this tutor book every success and happiness with their recorder playing.
$9.99 ≈
9.02€
King Of The Road for Classical Brass Quintet
King Of The Road for Classical Brass Quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE
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Rock
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Randy Travis, Roger Miller
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Keith Terrett
#
King Of The Road for Classical
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Music for all Occasions
#
SheetMusicPlus
Brass Quintet - Intermediate - By Randy Travis, Roger Miller. Arranged by Keith Terrett. Individual Part, Score, Set of Parts. 8 pages. Published by Music...
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Brass Quintet - Intermediate - By Randy Travis, Roger Miller. Arranged by Keith Terrett. Individual Part, Score, Set of Parts. 8 pages. Published by Music for all Occasions
An arrangement of the evergreen top hit song from 1964 ''King of the Road'', set for classical Brass Quintet.
"King of the Road" is a song written by country singer Roger Miller, who first recorded it in November 1964. The lyrics tell of the day-to-day life of a hobo who, despite being poor (a "man of means by no means"), revels in his freedom, describing himself humorously and cynically as the "king of the road". It was Miller's fifth single for Smash Records.
The popular crossover record hit No. 1 on the US Country chart, No. 4 on the Billboard Hot 100, and No. 1 on the Easy Listening surveys. It was also No. 1 in the UK Singles Chart, and in Norway. Miller recalled that the song was inspired when he was driving and saw a sign on the side of a barn that read, "Trailers for sale or rent".[6] This would become the opening line of the song.
The song has been covered by many other artists, including George Jones, Dean Martin, Val Doonican, Jack Jones, James Booker, The Fabulous Echoes, Boney M., R.E.M., Johnny Paycheck, Glen Campbell, Alvin and the Chipmunks, Boxcar Willie, Randy Travis, Rangers, James Kilbane, John Stevens, the Statler Brothers, Rufus Wainwright and Teddy Thompson, Giant Sand, Peligro, The Proclaimers, Ray Conniff Singers, The Reverend Horton Heat, Jerry Lee Lewis, and Jim White. James "The King" Brown (an Elvis impersonator) performed the song for a 2001 Audi commercial on German TV.[7] Of R.E.M.'s version, a shambolic, drunken, offhand rendering, guitarist Peter Buck would later comment, "If there was any justice in the world, Roger Miller should be able to sue for what we did to this song."
"King of the Road" was performed live by Merle Haggard, Willie Nelson, Marty Stuart, Dwight Yoakam and Dolly Parton during Miller's posthumous induction into the Country Music Hall of Fame at the 1995 CMA Awards ceremony.
The song is featured in Wim Wenders' 1976 film Im Lauf der Zeit (In the Course of Time; English title Kings of the Road). It is also played at the beginning of Talladega Nights: The Ballad of Ricky Bobby, Brokeback Mountain, Into the Wild (2007), Traveller (1997), and Swingers (1996). Miller performs it in the concert film The Big T.N.T. Show. The recording by The Proclaimers is included in the film The Crossing (1990). Near the end of their official music video, the pair are shown reading a newspaper whose headline is "Roger Miller, King of Plugs".
Miller's recording appears in an episode of the Super Dave TV show, where Super Dave Osborne (Bob Einstein) sings along while sitting at a piano mounted on top of his tour bus. The bus eventually goes into a low tunnel, slamming into the piano and Osborne and pushing them off the bus and onto the ground.
A send-up version by English entertainer Billy Howard was a British chart hit in 1976.
A German take by the band Wise Guys exists, the parody referring to speeding on the Autobahn.
$14.99 ≈
13.54€
Bono & The Edge: If The World Should End - voice & piano
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Piano, Voix
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INTERMÉDIAIRE
#
Comédie Musicale
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Bono & The Edge
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Virtualsheetmusic
Instantly printable sheet music by Bono & The Edge for voice & piano of MEDIUM skill level. / musical/show,rock,broadway
Instantly printable sheet music by Bono & The Edge for voice & piano of MEDIUM skill level. / musical/show,rock,broadway
$8.97 ≈
8.10€
Bono & The Edge: If The World Should End for voice, piano and guitar
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Piano, Voix et Guitare
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INTERMÉDIAIRE
#
Rock
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Bono & The Edge
#
Virtualsheetmusic
Instantly printable sheet music by Bono & The Edge for voice, piano or guitar of MEDIUM skill level. / pop,rock,broadway
Instantly printable sheet music by Bono & The Edge for voice, piano or guitar of MEDIUM skill level. / pop,rock,broadway
$7.97 ≈
7.20€
Spanish National Anthem for Symphony Orchestra (Kt Olympic Anthem Series)
Spanish National Anthem for Symphony Orchestra (Kt Olympic Anthem Series)
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Orchestre
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INTERMÉDIAIRE
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Patriotique
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Manuel de Espinosa de los Mo
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Keith Terrett
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Spanish National Anthem for Sy
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Music for all Occasions
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SheetMusicPlus
Full Orchestra - Intermediate - Composed by Manuel de Espinosa de los Monteros (1730-1810). Arranged by Keith Terrett. Classical Period, European, P...
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Full Orchestra - Intermediate - Composed by Manuel de Espinosa de los Monteros (1730-1810). Arranged by Keith Terrett. Classical Period, European, Patriotic. 30 pages. Published by Music for all Occasions
The Spanish National Anthem arranged for full Symphony Orchestra, there is a short version in my store in case you need it! Just need a sporting event now such as an Olympics!
The Marcha Real (Spanish pronunciation: [ˈmartʃa reˈal], "Royal March") is the national anthem of Spain. It is one of only three national anthems (along with that of Bosnia and Herzegovina and the Republic of Kosovo) in the world to have no official lyrics.
One of the oldest in the world, the anthem was first printed in a document dated 1761 and entitled Libro de la Ordenanza de los Toques de Pfanos y Tambores que se tocan nuevamente en la Ynfant Espaola (Book of the Ordenance of Newly Played Military Drum and Fife Calls by The Spanish Infantry ), by Manuel de Espinosa. Here it is entitled La Marcha Granadera ("March of the Grenadiers"). There is written its score on this book. According to this document, Manuel de Espinosa de los Monteros is the composer.
There is a false belief that Marcha Real?s author was Frederick II of Prussia, a great lover of music. This belief started in 1861 when it appears for the first time publied in La Espaa militar (The Militar Spain). In 1864, the colonel Antonio Vallecillo publishes the history in the diary El Espritu Pblico (The Public Spirit), making the supposed Prussian origin of Marcha Real popular. According to Vallecillo, the anthem was a gift from Frederick II to the soldier Juan Martn lvarez de Sotomayor, who was serving in the Prussian Court to learn the military tactics developed by Frederick II?s army, under orders of King Charles III. In 1868 the history is published in Los Sucesos, changing the destinatary of the gift with Pedro Pablo Abarca de Bolea, Count of Aranda. The myth was picked up like this in different publications of 1884 and 1903, until being included in 1908 in the Enciclopedia Espasa.
According to the tradition in 1770, Charles III declared the Marcha de Granaderos as the official Honor March, and with that formalized the habit of playing it in public and solemn acts. It became the official anthem during Isabel II?s reign.
After the 1868 Revolution, General Prim convoked a national contest to create an official anthem, but it was declared deserted, advising the jury that Marcha de Granaderos was considered as such. By Alfonso XIII?s time, it was established by a Royal Circular Order (27 August 1908) that interpreted the harmonization of the march done by Bartolom Prez Casas, Major Music of the Royal Corps of Halberdier Guards. During the Second Republic, Himno de Riego was adopted as official anthem, although after the Spanish Civil War, Marcha Real returned to be used as anthem, sometimes sung with the verses written by the poet Jos Mara Pemn in 1928.
The actual symphonic version of the Marcha Real that replaces the Prez Casas one, belongs to maestro Francisco Grau and is the official one after the Royal Decree of 10 October 1997, when the Kingdom of Spain bought the author rights of the Marcha Real, then belonging to Prez Casas? Heirs. According to the Royal Decree 1560/1997, the anthem should have a tone of B major and a tempo of 76 bpm (♩=76), with a form of AABB and a duration of 52 seconds.
Under the Trienio Liberal (1820-1823), the First Spanish Republic (1873?74) (when it enjoyed of a co-officiality) and the Second Spanish Republic (1931?1939), El Himno de Riego replaced La Marcha Real as the national anthem of Spain. At the conclusion of the Civil War, however, Francisco Franco restored La Marcha Real as the country?s national anthem, under its old title of La Marcha Granadera.
Interpretation and etiquette:
Military bands of the Spanish Armed Forces and the National Police Corps of Spain and civilian Marching bands and Concert bands play the B flat-major version of the anthem adapted for wind bands (as arranged by Francisco Grau), and playing the A Major version is optional.
The bugle call "To the Colors" in Spain is the version played by Bugle bands in Spanish churches in religious occasions and processions organized by civil groups and the parishes. Various versions adapted for the drum and the bugle are used, even though brass instruments play the anthem as well. But in some bugle bands, the A flat version of the anthem (the old official one, adapted for the bugle) is played. Only a bugle call is sounded when the B flat version is played.
Being the National Anthem, and in honor of the King and Queen of Spain, it?s a common practice for all to stand once it is played. Even though it is also played in church events, respect for the King and Queen (and the Royal Family as well) is required by everyone in attendance. As it happens civilians stand at attention while those in uniform salute when not in formation.
The current official version, as described in Royal Decree 1560/1997, is a sixteen-bar long phrase, divided in two sections, each one is made up of four repeated bars (AABB form). Tempo is set to ♩= 76 and key to B flat.
The long, complete version is the honors music for the King, while a shorter version without the repetitions is performed for the President of the Government of Spain, the Prince of Asturias, or during sporting events.
There are also three official arrangements: one for orchestra, another for military band, and a third for organ, written by Francisco Grau Vegara and requested by the Government of Spain. All in all, there are six different official adaptations, for each arrangement and length. They all were recorded by the Spanish National Orchestra and the Spanish Royal Guard Band as an official recording and released on compact disc for a limited period of time.
As the harmonization of the Marcha Real was written by Bartolom Prez Casas in the early 1900s, the copyright has not yet expired. The government bought it from Prez Casas? estate in 1997 for 130,000,000 pesetas (~ ? 781,316) to avoid future legal problems. Until it expires, the copyright belongs to the Ministry of Culture and collecting societies charge copyright fees, which has led to criticism.
As a result, many different harmonisations have been devised by performers to avoid paying. Nonetheless, the rights to the 1997 Francisco Grau revision were transferred to the government at no charge, although they were not placed in the public domain.
Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com
$39.00 ≈
35.23€
Antioch (Joy to the World!) 2 Trumpets, SATB, Organ
Antioch (Joy to the World!) 2 Trumpets, SATB, Organ
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Chorale SATB
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FACILE
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Handel / Lowell Mason
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John Ross
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Antioch
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John Ross
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 2 - SKU: A0.1358424 Composed by Handel / Lowell Mason. Arranged by John Ross. Baroque,Christmas,Religious,Sacred. 8 p...
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Choral Choir,Choral (SATB) - Level 2 - SKU: A0.1358424 Composed by Handel / Lowell Mason. Arranged by John Ross. Baroque,Christmas,Religious,Sacred. 8 pages. John Ross #942882. Published by John Ross (A0.1358424). The music for this Christmas hymn has been credited to Handel, adapted by Lowell Mason, but it seems that Mason adapted a melody found in William Holford's Voce di Melodia (c.1834). Perhaps the Handel reference came from the tune's resemblance to Lift up your heads in Messiah. If the 3rd verse is sung, trumpets should be tacet. Parts for both Bb and C trumpets are included at the end of the score.
$2.50 ≈
2.26€
Antioch (Joy to the World)
Antioch (Joy to the World)
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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George Friderick Handel
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John Ross
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Antioch
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John Ross
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.1075532 Composed by George Friderick Handel (1685-1759), adapted by Lowell Mason (1792-1872). Arranged by John R...
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Choral Choir (SATB) - Level 3 - SKU: A0.1075532 Composed by George Friderick Handel (1685-1759), adapted by Lowell Mason (1792-1872). Arranged by John Ross. Christmas,Praise & Worship,Sacred. Octavo. 8 pages. John Ross #679725. Published by John Ross (A0.1075532). The music for this Christmas hymn has been credited to Handel, adapted by Lowell Mason, but it seems that Mason adapted a melody found in William Holford's Voce di Melodia (c.1834). Perhaps the Handel reference came from the tune's resemblance to Lift up your heads in Messiah. If the 3rd verse is sung, trumpets should be tacet. Parts for both Bb and C trumpets are included at the end of the score.
$1.99 ≈
1.80€
If the World Should End from Spider-Man Turn Off the Dark - Piano/Vocal/Guitar
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Piano, Voix et Guitare
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If the World Should End from S
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Musicnotes
Performed by: Bono & The Edge: If the World Should End Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital she...
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Performed by: Bono & The Edge: If the World Should End Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal/Guitar, instruments: Voice;Piano;Guitar; 7 pages -- Pop Rock~~Show/Broadway~~Musical
$5.50 ≈
4.97€
Seven Days Without Prayer
Seven Days Without Prayer
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David Kai
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David Kai
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Seven Days Without Prayer
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David Kai
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SheetMusicPlus
Drum Set,Electric Bass Guitar,Piano Accompaniment,Synthesizer - Level 4 - SKU: A0.1105114 By David Kai. By David Kai. Arranged by David Kai. Christian,C...
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Drum Set,Electric Bass Guitar,Piano Accompaniment,Synthesizer - Level 4 - SKU: A0.1105114 By David Kai. By David Kai. Arranged by David Kai. Christian,Contemporary,Jazz,Rock. Full Performance. Duration 199. David Kai #708361. Published by David Kai (A0.1105114). The title for this song came from a plaque that I saw in a Christian book store. Jesus’ teachings about prayer from Matthew 7 or Luke 11 were also an inspiration. This song was first recorded by the Sellwoods gospel group. Seven Days Without Prayer words and music by David Kai ©1980 It’s a world where we depend on communication Through the wires and through the air information flows It’s an age where thoughts and words can cross the ocean It’s a shrinking world, but the space between us grows Though we talk to one another, there’s something missing We still need to speak from the soul, not just the mind We still need the oldest form of communication It’s available for free at any time The lines are open, why not send in a call? The Lord is waiting, just to hear from you all So just take some time for praying, God would love to hear you speak You know seven days without prayer makes one weak If a child should ask its father for bread and fishes Would that child receive a stone or a snake in its place? No, and if even earthly fathers will bless their children Won’t the heavenly Father bless and give you grace? So if you knock upon the door it will be opened If you speak unto the Lord you will be heard Look to Jesus, you will not be disappointed You will find he’s always faithful to his word The lines are open, why not send in a call? The Lord is waiting, just to hear from you all So just take some time for praying, God would love to hear you speak You know seven days without prayer makes one weak The lines are open, why not send in a call? The Lord is waiting, just to hear from you all So just take some time for praying, God would love to hear you speak You know seven days without prayer makes one weak Makes one weak.
$1.99 ≈
1.80€
Don't Worry, Be Happy
Don't Worry, Be Happy
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Ensemble de Percussions
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INTERMÉDIAIRE
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Jazz
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Bobby McFerrin
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Ricardo Matosinhos
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Don't Worry, Be Happy
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Ricardo Matosinhos
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SheetMusicPlus
Percussion Ensemble - Level 3 - SKU: A0.899162 By Bobby McFerrin. By Bobby McFerrin. Arranged by Ricardo Matosinhos. Jazz. Score and parts. 32 pages. Ri...
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Percussion Ensemble - Level 3 - SKU: A0.899162 By Bobby McFerrin. By Bobby McFerrin. Arranged by Ricardo Matosinhos. Jazz. Score and parts. 32 pages. Ricardo Matosinhos #5723941. Published by Ricardo Matosinhos (A0.899162). This is a well known piece by Bobby McFerrin. Here presented on a music arrangement for unconventional music instruments. The arrangement allows flexibility, so this piece can be performed using tuned bottles (25cl, 33cl and 75cl), lip whistle, finger snaps, complemented with xylophones and optionally with voices to sing the lyrics too. This arrangement was made during the 2020 quarantine, when the world was shutdown due to a world virus pandemic. Some of the music students didn’t have their music instruments at home, so this arrangement came up to fill that gap and it is perfect to keep doing music with the available option of instruments.On each rehearsal letter, you can play optional improvisations, while keeping the voices 5-8. These improvisations can be easily done using the C major pentatonic scale or the note ranges presented on the right, that even include Eâ™ and Bâ™. If played using lip whistle, bendings will be possible too. This arrangement presents 8 voices and an alternative solution for voice 8, that makes it easier to be performed as it is the place where bottles are divided between the players. There is also an optional bass line to complement voice eight one octave bellow. In order to keep it simple, neither dynamics or articulations were included and the notes were represented always in the middle octave in G clef. The correct pitch ranges are presented in the performance notes.The amount of water will change the pitch differently depending if you are blowing or doing percussion on a bottle. When blowing, the more water you use, the higher the pitch will be, but while doing percussions more water means lower pitch. A good option, in order to save time during rehearsals, is to fill the bottles with water, marking the level with a pen, and then filling the bottle with the desired amount of hot wax instead of water. This way, when the wax cools down you can have a tuned bottle without requiring to tune it again every single rehearsal. Please note that the bottles should be made of glass and that different aspects change the performance. For percussion, straight bottles are better to tune as the curves in the bottles tend to produce unstable pitches. The extreme notes of the range might not be available in every single bottle, so you might need to try some alternatives. For example the high A is available in some beer bottles, while the low G is available in larger 75cl bottles of champaign. Last but not least, this piece should always be played according to Bobby’s motto: dont worry, be happy!I had lots of fun while doing this arrangement, now it’s your time to have fun while performing it!Ricardo Matosinhoshttp://www.ricardomatosinhos.com
$14.99 ≈
13.54€
German National Anthem (( Deutschlandlied ) for Brass Quintet
German National Anthem (( Deutschlandlied ) for Brass Quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE
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Patriotique
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Josef Franz Haydn
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Keith Terrett
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German National Anthem
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Casio
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SheetMusicPlus
Composed by Josef Franz Haydn. Arranged by Keith Terrett. Classical Period, World, European, Patriotic. Score, Set of Parts. 9 pages. Published by Casio (S0.110...
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Composed by Josef Franz Haydn. Arranged by Keith Terrett. Classical Period, World, European, Patriotic. Score, Set of Parts. 9 pages. Published by Casio (S0.110845). - Score,Set of Parts - Classical Period,World,European,Patriotic - Casio
An arrangement of the national anthem of Germany ( "Deutschlandlied"), arranged for classical brass quintet.The "Deutschlandlied" (English: "Song of Germany", German pronunciation: [?d??t?lant?li?t]; also known as "Das Lied der Deutschen" or "The Song of the Germans"), or part of it, has been the national anthem of Germany since 1922, except in East Germany, whose anthem was "Auferstanden aus Ruinen" ("Risen from Ruins") from 1949 to 1990.Since World War II and the fall of Nazi Germany, only the third stanza has been used as the national anthem. The stanza's beginning, "Einigkeit und Recht und Freiheit" ("Unity and Justice and Freedom") is considered the unofficial national motto of Germany,[1] and is inscribed on modern German Army belt buckles and the rims of some German coins.The music was written by Austrian composer Joseph Haydn in 1797 as an anthem for the birthday of Francis II, Emperor of the Holy Roman Empire and later of Austria. In 1841, the German linguist and poet August Heinrich Hoffmann von Fallersleben wrote the lyrics of "Das Lied der Deutschen" to Haydn's melody, lyrics that were considered revolutionary at the time.The song is also well known by the beginning and refrain of the first stanza, "Deutschland, Deutschland ber alles" ("Germany, Germany above all"), but this has never been its title. The line "Germany, Germany above all" meant that the most important goal of 19th-century German liberal revolutionaries should be a unified Germany which would overcome the perceived anti-liberal ethos of then-fragmented Germany (Kleinstaaterei). Along with the flag of Germany, it was one of the symbols of the March Revolution of 1848.In order to endorse its republican and liberal tradition, the song was chosen as the national anthem of Germany in 1922, during the Weimar Republic. West Germany adopted the "Deutschlandlied" as its official national anthem in 1952 for similar reasons, with only the third stanza sung on official occasions. Upon German reunification in 1990, only the third stanza was confirmed as the national anthem.For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores:http://www.scoreexchange.com/profiles/keith_terrethttp://musicforalloccasions.org.ukhttp://www.sheetmusicplus.com/search?Ntt=keith terrettNeed an anthem fast? They are ALL in my store!All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com.
$8.99 ≈
8.12€
A Promise to Stand By:
A Promise to Stand By:
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Orchestre d'harmonie
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Contemporain
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Benjamin Ayotte
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A Promise to Stand By:
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Ayotte Custom Musical Engravings
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SheetMusicPlus
Concert Band - SKU: A0.733009 Composed by Benjamin Ayotte. Contemporary. Score and parts. 30 pages. Ayotte Custom Musical Engravings #2075851. Published...
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Concert Band - SKU: A0.733009 Composed by Benjamin Ayotte. Contemporary. Score and parts. 30 pages. Ayotte Custom Musical Engravings #2075851. Published by Ayotte Custom Musical Engravings (A0.733009). A promise to stand by... this phrase indicate loyalty, steadfastness, being a man of one's word, knowing that integrity and honor are the enduring qualities by which we will be judged; not fame, fortune, influence, or other worldly measures. It is no surprise, therefore, that this phrase was incorporated by Lou Fortunate and Msgr Herman Kucyk, of blessed memory, into the alma mater of Divine Child High School. When I was approached by Mr. Bush and the Divine Child Band Boosters about the possibility of writing a piece to celebrate the fiftieth anniversary of the band program I was excited, flattered, and--most of all--humbled that I should be chosen out of many worthier candidates, in my estimation. Divine Child has had, for the longest time--since the beginning, it seems--a vibrant and thriving fine arts program involving music (both vocal and instrumental), theatre, and the visual arts as well as literature and poetry. I began to conceive of a work that would pay homage to each of these arts musically and be a celebration of all that Divine Child has to offer. One of my favourite composers, Gustav Mahler, famously said, a symphony must be like the world; it must contain everything. In the 1988 vice-presidential debate, Lloyd Bentsen famously said to Dan Quayle, Senator, you're no Jack Kennedy. A voice in my head said, Benjamin, you're no Gus Mahler. As the discarded drafts in the recycle bin took on a life of their own, I eventually dismissed the idea as impractical, and even vainglorious. I settled upon a more general idea to make the music about the band program. Most every student in the band program goes through the rigors of marching band and performs at the Falcon football games where they become intimate with the Three School Songs: the Falcon Fanfare, the Fight Song, and the Alma Mater. Taking the latter piece as my inspiration, I meditated upon the mission of the school: a promise to educate us in body, mind, and spirit. Divine Child High School stands by her promise, recruiting some of the best teachers in the area to guide us through the tumultuous adolescent years. We students, too, have a promise: to strive to be worthy of this gift, and to accept it and use it for the betterment of society. In band class, under Leo Tallieu, I learned to listen; to contribute to the group; to consider my part in relation to the whole ensemble; to show leadership when needed; and to be a role player when needed. And so, my conception of the piece changed. I wanted to use melodic, harmonic, and rhythmic devices that would be familiar to all DCHS band students, but to use them in a new and different way; to recontextualize them. As time went on, Bob Bush asked me if I would be able to work in a tribute to two band students who had tragically died in the last few years: Blaise H.
$19.99 ≈
18.06€
Silent Night: From Austria to Africa
Silent Night: From Austria to Africa
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Guitare notes et tablatures
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INTERMÉDIAIRE/AVANCÉ
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Noël
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Franz Xaver Gruber
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Richard Hirsch
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Silent Night: From Austria to
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Richard Hirsch
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1153109 Composed by Franz Xaver Gruber. Arranged by Richard Hirsch. Christmas,Multicultural,Religious,Standards,Traditio...
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Solo Guitar - Level 4 - SKU: A0.1153109 Composed by Franz Xaver Gruber. Arranged by Richard Hirsch. Christmas,Multicultural,Religious,Standards,Traditional,World. Individual part. 8 pages. Richard Hirsch #753352. Published by Richard Hirsch (A0.1153109). An arrangement for solo guitar of the all-time favourite Christmas carol composed by Franz Gruber. The arrangement starts with an introduction of the melody in arpeggios of natural harmonics and moves into broken chords mixed with arpeggios for the first rendering of the song in 6/8 time. In the second part, at the shift to 4/4 time, the melody is rendered in an African inspired version with natural harmonics reminiscent of tunes played on an African kalimba (thumb harp) woven into the broken chords and arpeggios. As the speed increases, and the volume decreases, the arrangement moves steadily toward a total kalimba version. I like to think of the first part of the arrangement as symbolising a night in the little Austrian village where Gruber lived and composed the song. The natural harmonics and base notes and treble notes on open strings denoting the village chapel bells ringing on Christmas Eve. The second part tries to give a feel for how the melody can stand as a symbol of our common human origins in Africa, celebrating the birth and unity of humanity. The arrangement is within reach of intermediate to advanced students of guitar and is a good introduction to natural harmonics on the twelfth, seventh, and fifth frets. The African inspired polyrhythm fingerpicking in the second part consists basically of the thumb alternating with the index and middle fingers in a repetitive cycle. The second part is notated in 4/4 time, but can perhaps be more easily be read and played as 8/8 time, as practically everything, especially towards the end of the arrangement consists of eight notes. The polyrhythmic second part should have an accent on the downbeat of the first beat of the measure followed by an accent at 3and (an upbeat), just before the fourth and final beat of the measure. Reading the four part harmony of the score may at first present a challenge but if played basically as eight notes followed by eight notes everything should come out right in the end. Refer to the mp3 version provided with the score if in doubt. I do not mark the natural harmonics explicitly in the tablature, there are simply too many of them. The diamond shaped notes in the notation denoting harmonics are found directly above the corresponding fingerings in the tablature. It has been a real joy to work with this arrangement of the song and I hope it brings joy to others in playing it, giving new life to the traditional melody.
$4.99 ≈
4.51€
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If The World Should End
