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Vous avez sélectionné:
It's Pronounced
Partitions à imprimer
74 partitions trouvées
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It's Pronounced "Rules" (DELTARUNE Chapter 2 - Piano Sheet Music)
It's Pronounced "Rules" (DELTARUNE Chapter 2 - Piano)
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Piano Facile
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FACILE
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Jeux Videos
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Toby Fox
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Toby Fox, adapted by Sydney Kj
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Sydney Kjerstad
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It's Pronounced "Rules&qu
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Materia Editions
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SheetMusicPlus
Easy Piano - Level 2 - SKU: A0.1201232 By Toby Fox. By Toby Fox. Arranged by Sydney Kjerstad. Video Game. Score. 4 pages. Materia Editions #799878. Publ...
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Easy Piano - Level 2 - SKU: A0.1201232 By Toby Fox. By Toby Fox. Arranged by Sydney Kjerstad. Video Game. Score. 4 pages. Materia Editions #799878. Published by Materia Editions (A0.1201232). One of 47 songs from the DELTARUNE, Chapter 2 soundtrack. Composed by Toby Fox, adapted by Sydney Kjerstad.Making the Deltarune Piano Score series a little more complete, here’s DELTARUNE Chapter 2’s music finally in book form! Just like the music from the first chapter, each of the pieces here are varying levels of difficulty, but all are within your reach. Go in order, go out of order, play through the book how you want!You will strengthen your abilities and come out even better on the other side. Play this music for you, for your friends and family, and show off what makes this music so  special. Please enjoy! I know I did when adapting it all!- Sydney KjerstadDELTARUNE Piano Score is brought to you by:TOBY FOX is the musical dog that made DELTARUNE.SYDNEY KJERSTAD is a video-gaming-piano-playing nerd whose goal in life is to make game music accessible for everyone.A Materia Editions Production. Music by Toby Fox. © 2015-2021 ROYAL SCIENCES LLC. Arrangements © 2023 Materia Editions / Materia Music Inc. All rights reserved. Used by permission. No part of this book shall be reproduced, arranged, adapted, recorded, publicly performed, or transmitted by any means without written permission by the publisher.
$1.99
In Hawai'i (It's So Easy to Fall in Love) - Extended Ending
In Hawai'i (It's So Easy to Fall in Love) - Extended Ending
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Ukulele
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FACILE
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John Meola Lindhorst
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In Hawai'i
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John Meola Lindhorst
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SheetMusicPlus
Ukulele - Level 2 - SKU: A0.1239091 Composed by John Meola Lindhorst. Multicultural,Pop,Singer/Songwriter,World. Score (Chords/Lyrics). 3 pages. John Me...
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Ukulele - Level 2 - SKU: A0.1239091 Composed by John Meola Lindhorst. Multicultural,Pop,Singer/Songwriter,World. Score (Chords/Lyrics). 3 pages. John Meola Lindhorst #834484. Published by John Meola Lindhorst (A0.1239091). “In Hawaii It’s So Easy to Fall in Loveâ€Hawaii is known worldwide as the “Land of Alohaâ€. In this fun original song, John Meola Lindhorst has crafted clever lyrics to describe some of the things that make Hawaii a tropical paradise where romance blossoms. The warm breezes, gently flowing rivers, and a night sky glistening with a million stars are just a few of the romantic features of this island paradise. And if all this beauty isn’t enough to capture your heart, a mere glimpse of the beautiful hula dancers will certainly make you fall in love. With a catchy melody and playful rhythms, you’ll love singing this tune. As an added feature, the ukulele chord charts are incorporated into the lead sheet so you can add authentic Hawaiian accompaniment with ease. Be sure to check out the entire song, the coda is especially clever as it takes you from Hanalei to Hilo and then on a tour of six of the Hawaiian Islands. You’ll want to practice pronouncing the Hawaiian names so you can sing them at a quick tempo.
$4.99
In Hawai'i (It's So Easy to Fall in Love) - Abbreviated Ending
In Hawai'i (It's So Easy to Fall in Love) - Abbreviated Ending
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Ukulele
#
FACILE
#
John Meola Lindhorst
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In Hawai'i
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John Meola Lindhorst
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SheetMusicPlus
Ukulele - Level 2 - SKU: A0.1239089 Composed by John Meola Lindhorst. Multicultural,Pop,Singer/Songwriter,World. Score (Chords/Lyrics). 2 pages. John Me...
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Ukulele - Level 2 - SKU: A0.1239089 Composed by John Meola Lindhorst. Multicultural,Pop,Singer/Songwriter,World. Score (Chords/Lyrics). 2 pages. John Meola Lindhorst #834482. Published by John Meola Lindhorst (A0.1239089). “In Hawaii It’s So Easy to Fall in Loveâ€Hawaii is known worldwide as the “Land of Alohaâ€. In this fun original song, John Meola Lindhorst has crafted clever lyrics to describe some of the things that make Hawaii a tropical paradise where romance blossoms. The warm breezes, gently flowing rivers, and a night sky glistening with a million stars are just a few of the romantic features of this island paradise. And if all this beauty isn’t enough to capture your heart, a mere glimpse of the beautiful hula dancers will certainly make you fall in love. With a catchy melody and playful rhythms, you’ll love singing this tune. As an added feature, the ukulele chord charts are incorporated into the lead sheet so you can add authentic Hawaiian accompaniment with ease. Be sure to check out the entire song, the coda is especially clever as it takes you from Hanalei to Hilo and then on a tour of six of the Hawaiian Islands. You’ll want to practice pronouncing the Hawaiian names so you can sing them at a quick tempo.
$4.99
DELTARUNE Chapter 2 Piano Score - Sheet Music from the game
DELTARUNE Chapter 2 Piano Score - from the game
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Piano Facile
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FACILE
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Jeux Videos
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Toby Fox
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Toby Fox
, ada
#
Sydney Kjerstad
#
DELTARUNE Chapter 2 Piano Scor
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Materia Editions
#
SheetMusicPlus
Easy Piano - Level 2 - SKU: A0.1200295 By Toby Fox. By Toby Fox. Arranged by Sydney Kjerstad. Video Game. Score. 96 pages. Materia Editions #799104. Pub...
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Easy Piano - Level 2 - SKU: A0.1200295 By Toby Fox. By Toby Fox. Arranged by Sydney Kjerstad. Video Game. Score. 96 pages. Materia Editions #799104. Published by Materia Editions (A0.1200295). All 47 songs from the DELTARUNE, Chapter 2 soundtrack. Composed by Toby Fox, adapted by Sydney Kjerstad.Making the Deltarune Piano Score series a little more complete, here’s DELTARUNE Chapter 2’s music finally in book form! Just like the music from the first chapter, each of the pieces here are varying levels of difficulty, but all are within your reach. Go in order, go out of order, play through the book how you want!You will strengthen your abilities and come out even better on the other side. Play this music for you, for your friends and family, and show off what makes this music so  special. Please enjoy! I know I did when adapting it all!- Sydney KjerstadCREDITSDELTARUNE Piano Score is brought to you by:TOBY FOX is the musical dog that made DELTARUNE.SYDNEY KJERSTAD is a video-gaming-piano-playing nerd whose goal in life is to make game music accessible for everyone. A Materia Editions Production.TRACKLIST Faint Glow Girl Next Door My Castle Town Ohhhhohohoho! Queen A CYBER'S WORLD? A Simple Diversion Almost to the Guys! Cool Beat When I Get Mad I Dance Like This Cyber Battle (Solo) When I Get Happy I Dance Like This Sound Studio Berdly Smart Race Faint Courage (Game Over) WELCOME TO THE CITY Mini Studio Holiday Studio Cool Mixtape HEY EVERY ! Spamton NOW'S YOUR CHANCE TO BE A Elegant Entrance Bluebird of Misfortune Pandora Palace KEYGEN Acid Tunnel of Love It's Pronounced Rules Lost Girl Ferris Wheel Attack of the Killer Queen Giga Size Powers Combined Knock You Down !! The Dark Truth Digital Roots Deal Gone Wrong BIG SHOT A Real Boy! Dialtone sans. Chill Jailbreak Alarm to Study and Relax to You Can Always Come Home Until Next Time Before the Story Berdly (Rejected Concept) Music by Toby Fox. © 2015-2021 ROYAL SCIENCES LLC. Arrangements © 2023 Materia Editions / Materia Music Inc. All rights reserved. Used by permission. No part of this book shall be reproduced, arranged, adapted, recorded, publicly performed, or transmitted by any means without written permission by the publisher.
$19.99
It's Pronounced Rules by Boss - Piano Solo
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Piano seul
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Boss
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It's Pronounced Rules
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Musicnotes
Sheet Music for It's Pronounced Rules from Deltarune: Chapter 2 arranged for Instrumental Solo in C Minor. Digital sheet music from Musicnotes. ...
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Sheet Music for It's Pronounced Rules from Deltarune: Chapter 2 arranged for Instrumental Solo in C Minor. Digital sheet music from Musicnotes.
$5.99
That's Amore (that's Love)
That's Amore (that's Love)
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Harry Warren and Jack Brooks
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John Fries
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That's Amore
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John Fries
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1285328 Composed by Harry Warren and Jack Brooks. Arranged by John Fries. 20th Century,Film/TV,Pop,Standards. Score. 3 pa...
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Piano Solo - Level 4 - SKU: A0.1285328 Composed by Harry Warren and Jack Brooks. Arranged by John Fries. 20th Century,Film/TV,Pop,Standards. Score. 3 pages. John Fries #876443. Published by John Fries (A0.1285328). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Thanks, John. That's Amore is a 1953 song by composer Harry Warren and lyricist Jack Brooks. It became a major hit and signature song for Dean Martin the year it was released. Amore (pronounced [aˈmoËre]) means love in Italian. The song first appeared in the soundtrack of the Martin and Lewis comedy film The Caddy. Jerry Lewis commissioned Warren and Brooks to write songs for Martin to sing in the movie. According to Lewis, he personally paid them $30,000 secretly in the hope that one would be a hit for Martin.
$5.99
That's Amore (that's Love)
That's Amore (that's Love)
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Piano, Voix et Guitare
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INTERMÉDIAIRE/AVANCÉ
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Harry Warren and Jack Brooks
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John Fries
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That's Amore
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John Fries
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1202025 Composed by Harry Warren and Jack Brooks. Arranged by John Fries. 20th Century,Pop,Standards. Score...
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Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1202025 Composed by Harry Warren and Jack Brooks. Arranged by John Fries. 20th Century,Pop,Standards. Score. 2 pages. John Fries #800644. Published by John Fries (A0.1202025). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. Thanks, John. That's Amore is a 1953 song by composer Harry Warren and lyricist Jack Brooks. It became a major hit and signature song for Dean Martin the year it was released. Amore (pronounced [aˈmoËre]) means love in Italian. The song first appeared in the soundtrack of the Martin and Lewis comedy film The Caddy. Jerry Lewis commissioned Warren and Brooks to write songs for Martin to sing in the movie. According to Lewis, he personally paid them $30,000 secretly in the hope that one would be a hit for Martin.
$4.99
The Potter's Hand
The Potter's Hand
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Musique Sacrée
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Darlene Zschech
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Richard Kingsmore
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Choral Octavo
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The Potter's Hand
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Jubilate Music Group - Digital
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SheetMusicPlus
Choir Sacred Instrumental Ensemble - SKU: JX.00-36877 With Have Thine Own Way. Composed by Darlene Zschech. Arranged by Richard Kingsmore. This e...
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Choir Sacred Instrumental Ensemble - SKU: JX.00-36877 With Have Thine Own Way. Composed by Darlene Zschech. Arranged by Richard Kingsmore. This edition: InstruPax. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Simply Praise & Worship. Sacred. Part(s). 72 pages. Jubilate Music Group - Digital #00-36877. Published by Jubilate Music Group - Digital (JX.00-36877). English.Australian Darlene Zschech (pronounced check) is a gifted songwriter, singer and worship leader. So was Adelaide Poddard, though she lived in a different time and place. Both dedicated themselves to God and to serving others, often in Africa. Richard Kingsmore opens his arrangement with a moving setting of Adelaide's hymn, Have Thine Own Way, Lord, and moves it gently and naturally toward Darlene's well-known song, The Potter's Hand. The easy combination works well for choirs and for worship. Related scripture: Jeremiah 18:6; Isaiah 64:8; 2 Corinthians 3:17.
$60.00
That's Amore (that's Love)
That's Amore (that's Love)
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Piano, Voix
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INTERMÉDIAIRE
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Harry Warren and Jack Brooks
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Dave Gingras and John E
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That's Amore
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DAVID LEE GINGRAS
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1279933 Composed by Harry Warren and Jack Brooks. Arranged by Dave Gingras and John E. Dosher. Film/TV,Jazz. Score...
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Piano,Vocal,Voice - Level 3 - SKU: A0.1279933 Composed by Harry Warren and Jack Brooks. Arranged by Dave Gingras and John E. Dosher. Film/TV,Jazz. Score. 4 pages. DAVID LEE GINGRAS #871347. Published by DAVID LEE GINGRAS (A0.1279933). That's Amore is a 1953 song by composer Harry Warren and lyricist Jack Brooks, and became a major hit and signature song for Dean Martin, who first recorded and released it that year. Amore (pronounced [aˈmoËre]) means love in Italian. The song was played in the 1987 film Moonstruck, the 1995 film Grumpier Old Men and the 1999 film Stuart Little. This version features a root-based chord blocking that John and I have used in a number of our arrangements, we also added what we think are some pretty cool left-hand fills. We hope you like what we've done with this grand old tune!
$4.99
Hot Beans for Jazz Ensemble
Hot Beans for Jazz Ensemble
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Ensemble Jazz
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INTERMÉDIAIRE
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Jazz
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Graham Boag
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Hot Beans for Jazz Ensemble
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Graham Boag
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.779959 Composed by Graham Boag. Jazz. Score and parts. 50 pages. Graham Boag #3245125. Published by Grah...
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Jazz Ensemble Jazz Ensemble - Level 3 - SKU: A0.779959 Composed by Graham Boag. Jazz. Score and parts. 50 pages. Graham Boag #3245125. Published by Graham Boag (A0.779959). 'Hot Beans' is an original composition for Jazz Ensemble. It's writen for Five Horns (Alto Sax, Tenor Sax, Bari Sax, Trumpet & Trombone plus Rhythm Section)The title is influenced by a breakfast dish you get here in Oman and across the Middle East, Ful Madammas (pronounced fool mu-dah-mahs ) it's ingredients include, Fava Beans, Cinnamon bark, Cumin, Cloves, Chili flakes and in Oman a fresh raw Green Chili or two to eat along with it.
$17.99
Belle Qui Tiens Ma Vie (Pavane) A Cappella SATB
Belle Qui Tiens Ma Vie (Pavane) A Cappella SATB
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Chorale SATB
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INTERMÉDIAIRE
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Thoinot Arbeau
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Edited by Andrew Emmet
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Belle Qui Tiens Ma Vie
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Andrew J Emmet
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 3 - SKU: A0.718851 Composed by Thoinot Arbeau (1519 - 1596). Arranged by Edited by Andrew Emmet. A Cappella,Folk,Mult...
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Choral Choir,Choral (SATB) - Level 3 - SKU: A0.718851 Composed by Thoinot Arbeau (1519 - 1596). Arranged by Edited by Andrew Emmet. A Cappella,Folk,Multicultural,Renaissance,World. 4 pages. Andrew J Emmet #3038285. Published by Andrew J Emmet (A0.718851). Three verses with phonetic lyrics built into the music on pages 3 and 4, so your choir can sing it straight away.It's old French, so there are different ideas of how it could be pronounced.
$4.00
I'll Be Seeing You
I'll Be Seeing You
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Contemporain
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Irving Kahal and Sammy Fain
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Art Levine
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I'll Be Seeing You
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art levine music
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Ukulele,Voice - Level 3 - SKU: A0.969030 Composed by Irving Kahal and Sammy Fain. Arranged by Art Levine. Contempora...
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Instrumental Duet Instrumental Duet,Ukulele,Voice - Level 3 - SKU: A0.969030 Composed by Irving Kahal and Sammy Fain. Arranged by Art Levine. Contemporary. Score and parts. 3 pages. Art levine music #6016203. Published by art levine music (A0.969030). Famous song by Sammy Fain & Irving Kahal (pronounced like the leafy vegetable!) from 1938. You can almost feel the war at the door. The original verse lyrics: Cathedral bells were tolling, and our hearts sang on / Was it the spell of Paris, or the April dawn? / Who knows when we shall meet again / But when the morning chimes ring sweet again … I decided to make up my own covid-19 words for the verse, but if you long for the magic of the original, go for it. If you’re interested in my chord-melody arrangement for uke (one of about 350), it’s available (with the lyrics, natch) at Sheet Music Plus. Stay healthy, and stay away from germs. I’ll be seeing you, hahaha.
$4.99
Grande Amore
Grande Amore
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Piano Trio: piano, violon, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Pop musique
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Ciro Esposito, Francesco Bocci
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Mattia Mugnai
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Grande Amore
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Matt80
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SheetMusicPlus
Piano Trio,String Ensemble Cello,Piano,Violin - Level 4 - SKU: A0.1205524 Composed by Ciro Esposito, Francesco Boccia, and Pasquale Mammaro. Arranged by...
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Piano Trio,String Ensemble Cello,Piano,Violin - Level 4 - SKU: A0.1205524 Composed by Ciro Esposito, Francesco Boccia, and Pasquale Mammaro. Arranged by Mattia Mugnai. Pop. Score and parts. 21 pages. Matt80 #803711. Published by Matt80 (A0.1205524). Grande amore (pronounced [ˈɡrande aˈmoËre]; English: Great love) is a song performed by Italian operatic pop trio Il Volo, and written by Francesco Boccia and Ciro Tommy Esposito. The song won the Sanremo Music Festival 2015 and represented Italy in the Eurovision Song Contest 2015 where it won the televoting, came sixth with the juries and third overall. The song was also covered with releases in other languages. In this arrangement the beauty of this song is finely preserved, as much as it's original stucture.The file includes both score and parts.
$18.00
El Noi de la Mare
El Noi de la Mare
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Chorale 3 parties
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FACILE
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Sylvia Miles
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Sylvia Miles
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El Noi de la Mare
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Sylvia Miles
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SheetMusicPlus
Choral Choir,Choral (SAB) - Level 2 - SKU: A0.1299488 By Sylvia Miles. By Sylvia Miles. Arranged by Sylvia Miles. Christmas,Folk,Multicultural,Tradition...
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Choral Choir,Choral (SAB) - Level 2 - SKU: A0.1299488 By Sylvia Miles. By Sylvia Miles. Arranged by Sylvia Miles. Christmas,Folk,Multicultural,Traditional,World. 8 pages. Sylvia Miles #889361. Published by Sylvia Miles (A0.1299488). This charming Catalan carol, probably dating back to the sixteenth century, has one of the most lilting of all folk melodies. It's a Christmas folk-song, which tells of bringing local Mediterrranean produce as gifts for Mary's newborn son: dates, figs, nuts, honey, cheese.This setting, for SAB, has fairly straightforward harmonies, and if you have a friendly flautist, the flute line adds a touch of sparkle!(Note on pronunciation: just pronounce pretty much every letter. So, for example, 'que' is kay, and 'nuez' is pronounced nooze.).
$1.99
Calon Lân
Calon Lân
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Chorale SATB
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FACILE
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Music: John Hughes and Words:
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Sylvia Miles
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Calon Lân
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Sylvia Miles
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SheetMusicPlus
Choral Choir (SATB) - Level 2 - SKU: A0.977680 Composed by Music: John Hughes and Words: Daniel James. Arranged by Sylvia Miles. Celtic,Christian,Folk,W...
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Choral Choir (SATB) - Level 2 - SKU: A0.977680 Composed by Music: John Hughes and Words: Daniel James. Arranged by Sylvia Miles. Celtic,Christian,Folk,World. Octavo. 9 pages. Sylvia Miles #6118947. Published by Sylvia Miles (A0.977680). I'm Welsh and I love this song. It's all about a pure heart which can sing by day and by night.In the first verse I've kept the traditional Welsh harmonies; then in verses 2 and 3 the harmonisation is my own. In verse 2 ATB sing the melody in unison while the sopranos sing a lovely descant line. In verse 3 the tenors have the melody with full SATB harmonies. Every line is singable.Welsh pronunciation is difficult (now there's an understatement) so underneath every line I've added the pronunciation. There are two specifically Welsh sounds: LL which is pronounced HL, and CH which is said in the back of the throat, as in the Scottish Loch.
$2.99
Serenade for the Violin
Serenade for the Violin
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Violon et Piano
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INTERMÉDIAIRE/AVANCÉ
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Anna Henderson
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Serenade for the Violin
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Anna C. Henderson
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SheetMusicPlus
Instrumental Solo,Piano,Violin - Level 4 - SKU: A0.904084 Composed by Anna Henderson. Classical,Instructional,Jazz,Romantic Period,Standards. Score and ...
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Instrumental Solo,Piano,Violin - Level 4 - SKU: A0.904084 Composed by Anna Henderson. Classical,Instructional,Jazz,Romantic Period,Standards. Score and individual part. 2 pages. Anna C. Henderson #443345. Published by Anna C. Henderson (A0.904084). A beautiful, emotional piece from the musical pen of Anna Henderson! It's moving and magnificent, with that delightful combination of classical and jazz chord-work, and room for that delicate technique so pronounced on the violin. This glorious yet simplistic serenade will evoke in listeners the great emotion wonderful tuneful music inspires. Composed for solo violin with accompanying piano. Buy the piano part as well and prepare this wonderful work for a star performance!
$5.00
Rigaudon (Full Score)
Rigaudon (Full Score)
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Cloches
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INTERMÉDIAIRE
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Karen Buckwalter
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Rigaudon
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Chorister's Guild - Digital
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SheetMusicPlus
3, 4 or 5 octaves handbells with optional finger cymbals and hand drum - Level 3 - SKU: C7.CGB1281 Composed by Karen Buckwalter. General. With 3, 4 or 5...
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3, 4 or 5 octaves handbells with optional finger cymbals and hand drum - Level 3 - SKU: C7.CGB1281 Composed by Karen Buckwalter. General. With 3, 4 or 5 octaves handbells with optional finger cymbals and hand drum. Full score. 16 pages. Chorister's Guild - Digital #CGB1281. Published by Chorister's Guild - Digital (C7.CGB1281). Rigaudon (pronounced Rih-gah-DOHN) is a lively dance for 3-5 octaves of handbells with optional finger cymbals and hand drum. It is filled with colorful harmonies due to a combination of both major and mixolydian harmonies, and it makes use of several percussive techniques that will keep your ringers and audience energized. It will be a great addition to your handbell library.
$11.95
Rigaudon
Rigaudon
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Cloches
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INTERMÉDIAIRE
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Karen Buckwalter
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Rigaudon
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Chorister's Guild - Digital
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SheetMusicPlus
3, 4 or 5 octaves handbells with optional finger cymbals and hand drum - Level 3 - SKU: C7.CGB1282 Composed by Karen Buckwalter. General. With optional ...
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3, 4 or 5 octaves handbells with optional finger cymbals and hand drum - Level 3 - SKU: C7.CGB1282 Composed by Karen Buckwalter. General. With optional finger cymbals and hand drum. Score. 8 pages. Chorister's Guild - Digital #CGB1282. Published by Chorister's Guild - Digital (C7.CGB1282). Rigaudon (pronounced Rih-gah-DOHN) is a lively dance for 3-5 octaves of handbells with optional finger cymbals and hand drum. It is filled with colorful harmonies due to a combination of both major and mixolydian harmonies, and it makes use of several percussive techniques that will keep your ringers and audience energized. It will be a great addition to your handbell library.
$4.95
Säkkijärven Polkka - Beginning Orchestra
Säkkijärven Polkka - Beginning Orchestra
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Orchestre à Cordes
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DÉBUTANT
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traditional Finnish
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Darian Burkhart
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Säkkijärven Polkka -
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Darian Burkhart
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SheetMusicPlus
String Orchestra - Level 1 - SKU: A0.1469751 Composed by traditional Finnish. Arranged by Darian Burkhart. 20th Century,Folk,Multicultural,World. 11 pag...
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String Orchestra - Level 1 - SKU: A0.1469751 Composed by traditional Finnish. Arranged by Darian Burkhart. 20th Century,Folk,Multicultural,World. 11 pages. Darian Burkhart #1047658. Published by Darian Burkhart (A0.1469751). Pronounced as sacky-YEAHR-venn pole-kah, this is an arrangement of a very fun traditional Finnish polka for beginning string orchestra. It has all the things you love, like offbeats, melody sharing, and staccato bowing. Consider this piece for your next orchestra concert.
$25.00
Säkkijärven Polkka
Säkkijärven Polkka
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Orchestre d'harmonie
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DÉBUTANT
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traditional Finnish
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Darian Burkhart
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Säkkijärven Polkka
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Darian Burkhart
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SheetMusicPlus
Concert Band - Level 1 - SKU: A0.1456102 Composed by traditional Finnish. Arranged by Darian Burkhart. Folk. 24 pages. Darian Burkhart #1035253. Publish...
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Concert Band - Level 1 - SKU: A0.1456102 Composed by traditional Finnish. Arranged by Darian Burkhart. Folk. 24 pages. Darian Burkhart #1035253. Published by Darian Burkhart (A0.1456102). Essentially pronounced as SACK-EE-YAR-VEN POLE-KAH, This traditional Finnish Polka is a favorite of mine. I have made it accessible to a beginning band level to work on and have fun.
$35.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484977...
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Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #488544...
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Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
9.28.85
9.28.85
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Trombone
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AVANCÉ
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Drake Mabry
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9.28.85
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Drake Mabry
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SheetMusicPlus
Trombone Solo - Level 5 - SKU: A0.799352 Composed by Drake Mabry. 20th Century,Contemporary. Individual part. 13 pages. Drake Mabry #2015075. Published ...
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Trombone Solo - Level 5 - SKU: A0.799352 Composed by Drake Mabry. 20th Century,Contemporary. Individual part. 13 pages. Drake Mabry #2015075. Published by Drake Mabry (A0.799352). 9.28.85 was written in 1985 and the date refers to the date of completion, September 28, 1985. Excerpts of this piece are included in Benny Sluchin’s book on contemporary trombone excerpts. This work includes my invention of the idea of playing lip multiphonics. Here's the story. During the Spring of 1985, I participated in the l'atelier de recherche instrumental department for acoustic instrument exploration at IRCAM working with Pierre-Yves Artaud (flute), Daniel Kientzy (saxophone) and Benny Sluchin (trombone). Most of the research was based on looking at new ways to produce sound with acoustic instruments and the department was open to performers and composers. A few months after the IRCAM workshops Benny Sluchin and I decided to work on a piece for him. We worked together to explore various contemporary techniques which I might select for the piece. After a while I narrowed down my choices to a movement with air, one with lip multiphonics, and one using the spatial characteristics of the bell, singing, and sending sound out the back by an alternate F tube. Benny is great to work with as he’s a wonderful musician, anything is possible, he’s open to trying out new ideas and he’s a great human being. The perfect combination for a composer. First, about the lip multiphonics in the second movement. During one of our work sessions we looked at singing and playing multiphonics but I wanted something different. So I asked Benny what would happen if he placed his embouchure between two partials of the overtone series. The result was amazing!! A number of partials sounded at the same time and the textural colors were varied and beautiful. The only problem with this was the window for placing the embouchure was very narrow. Slightly too high or slightly too low would result in a terribly out of tune and uncentered partial. Reminded me of what a sick cow might sound like. This difficulty was less pronounced between partials of a fifth but became more difficult when the partials were closer together. Fourths were okay but major and minor third partials were extremely difficult and risky. We decided what the heck and I wrote the second movement knowing the risks. But when the embouchure is well placed it produces such a beautiful sound. Benny mentioned that the idea had a pedagogical side benefit. He said from being able to focus on placing the embouchure in such a limited ‘window’ it made placing the embouchure for normal note much easier. My invention has been used by other composers since including Xenakis in 1986 and an Icelandic composer a couple of years later. The alternate movement come about after Benny had played the piece for a couple of years. He’s able to get these multiphonics but realized that maybe there would not be many other players able to do so. To avoid the problem that this movement might scare players away from the piece we decided that it would be good to have an alternate movement which would use the same ideas but in a less stressful way for the performer. I thought this was a good idea and wrote, what for me, is a more meditative piece based on the same material. I also imagined that it could be played by itself if the player wished. There is a misprint in the score at the end of the first line where there appears a multiphonic based on placing the embouchure between an Eb and an A natural. The A should be an Ab. The first movement explores the subtleties of various vowel and consonant formations in the mouth while playing. Since the trombone is such a perfect amplifier these small details can be heard. For instance the difference between ‘ts’ and ‘tsh’ comes off well. I think of this movement as a vocal conversation or discourse which becomes highly animated at the end. The dynamics play an important role in providing additional colors. The player should really ‘speak’ without speaking for this movement to work. The third movement is my circus piece. I know it is complicated to.
$7.99
Handel: Largo (from Xerxes) for soprano (descant) recorder and piano
Handel: Largo (from Xerxes) for soprano (descant) recorder and piano
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Flûte à bec Soprano
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FACILE
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G F Handel
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Colin Kirkpatrick
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Handel: Largo
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Colin Kirkpatrick Publications
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SheetMusicPlus
Recorder Solo,Soprano Recorder - Level 2 - SKU: A0.1311260 Composed by G F Handel. Arranged by Colin Kirkpatrick. Baroque,Historic,Instructional,Opera. ...
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Recorder Solo,Soprano Recorder - Level 2 - SKU: A0.1311260 Composed by G F Handel. Arranged by Colin Kirkpatrick. Baroque,Historic,Instructional,Opera. Individual part. 6 pages. Colin Kirkpatrick Publications #900258. Published by Colin Kirkpatrick Publications (A0.1311260). This piece is probably Handel’s best-known melody, although it began life as an operatic aria. The opera was called Xerxes, sometimes written Serses and pronounced something like “ZERT-seesâ€. It was commissioned by The King’s Theatre in London and composed by Handel (who had become naturalized British and lived in London at the time) around 1737 and 1738. The opera is loosely based on the real historical figure King Xerxes, who ruled from around 522-486 BC and was the fourth king of the Achaemenid Empire, a vast region that covered most of the present-day Middle East including modern Turkey.  The melody is often known simply as Handel’s Largo (despite being marked “Larghetto†in the musical score) and is the opening aria in the opera. Known by its opening line Ombra mai fu the aria is sung by Xerxes to a plane tree: “Tender and beautiful fronds of my beloved plane tree, let fate smile upon you...â€Although the melody has survived over the years, the opera itself was a complete failure when it was first performed at the King’s Theatre in London’s Haymarket in 1738. The style of the opera was not appreciated by London opera-goers and it generally received poor reviews. The audience may have been confused by the innovative nature of the work because Handel introduced unexpected comic elements into the plot.This arrangement for soprano (descant) recorder(s) and piano is in G major and uses the lower and middle register of the instrument.  It could be used with any number of descant recorders. The lowest note is the D just below the treble staff and the highest note is the G just above the top line. The piano part has been kept as simple as possible. Â
$3.95
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
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Chorale SATB
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AVANCÉ
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Carson Cooman
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Carson Cooman: Ascensions
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Musik Fabrik Music Publishing
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #...
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Choral Choir (SATB) - Level 5 - SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #3043975. Published by Musik Fabrik Music Publishing (A0.535388). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir.
$25.95
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