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Vous avez sélectionné:
Make Things Happen
Partitions à imprimer
15 partitions trouvées
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1
Make Things Happen
Make Things Happen
#
Piano, Voix
#
FACILE
#
Musique Sacrée
#
Stephen R Dalrymple
#
Stephen R Dalrymple
#
Make Things Happen
#
Stephen R Dalrymple
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SheetMusicPlus
Piano,Vocal,Voice - Level 2 - SKU: A0.818232 By Stephen R Dalrymple. By Stephen R Dalrymple (Dalrymple Designs). Arranged by Stephen R Dalrymple. Praise...
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Piano,Vocal,Voice - Level 2 - SKU: A0.818232 By Stephen R Dalrymple. By Stephen R Dalrymple (Dalrymple Designs). Arranged by Stephen R Dalrymple. Praise & Worship,Sacred. Score. 22 pages. Stephen R Dalrymple #3095149. Published by Stephen R Dalrymple (A0.818232). Make Things Happen ♫ original song by Stephen R Dalrymple ♫ (Worship Team Edition) ♫ CCLI Song # 7142323 ♫ music © 2008 (© registered in 'Lwanj pou Jezi’ collection) ♫ recording ℗ 2022 Stephen R Dalrymple ♫ presentation © 2022 Stephen R Dalrymple ♫ sequenced by the composer ♫ based on Zechariah 4:6 and John 15:4-5 ♫ This song was written to commemorate the Day of Pentecost. The song begins with the misguided idea that human effort and positive thinking is enough to face the struggles of today. After considering the words of Zechariah 4:6, we see that only the might and power of the Holy Spirit is adequate to face the challenges ahead. ♫ This .pdf file includes 1) labeled copies for up to 7 printed copies of the lead sheet for worship team use, 2) vocal line with piano accompaniment, 3) lead sheet for 10 inch tablet, and vocal line with piano for 10 inch tablet. (Tell your computer which pages you want to print. There are programs online that will allow you to split pdf files so that you can choose parts you wish to print.).
$4.50 ≈
£3.43
These Are The Best Of Times
These Are The Best Of Times
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Piano, Voix et Guitare
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FACILE
#
Michael Drake
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Michael Drake
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These Are The Best Of Times
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Michael Gene Drake
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 2 - SKU: A0.1350134 By Michael Drake. By Michael Drake. Arranged by Michael Drake. Broadway,Celtic,Film/TV,Irish,Musica...
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Guitar,Piano,Vocal,Voice - Level 2 - SKU: A0.1350134 By Michael Drake. By Michael Drake. Arranged by Michael Drake. Broadway,Celtic,Film/TV,Irish,Musical/Show,Singer/Songwriter. Score. 48 pages. Michael Gene Drake #934912. Published by Michael Gene Drake (A0.1350134). These Are The Best Of Timesâ€Here is the sheet music and all the parts from my song “These Are The Best Of Timesâ€INTROThese are the Best of Times we have and these are the Best of Times you know. These are the Best of Times we have These are the Best of Times, These are the Best of Times.Verse 1Love to live my life with you and have fun the whole day thru, ski-ppin'stones in the summer time on the  lake be-side our home.  Love to live my life with you ha-vin' fun the evenin' too we wouldCuddle by the f-ire and dream the night a-way!ChorusThese could be the best of times ours could be the grandest life,If we just decide to make it happen. Against the odds we'll make it thru I tell you darlin' I love you,Our lives will never be the same again,Our lives will never be the same again,Our lives will never  be the same again, Verse 2You need to know from me the things I love a-bout you, Well that’sEasy to say it's everything you are.And now that we've found our-selves there is no turning back though it's difficult at times we are in each other’s blood. ChorusThese are now the best of times, ours are surely the gift we need, weFollowed our hearts and now we made it.Against the odds we made it thru I tell you darlin' I love you,Our lives will never be the same a-gain,Our lives will never be the same a-gain,Our lives will never be the same a-gain, Michaeldrakemusic@outook.com  www.drakemusic.com.
$25.00 ≈
£19.06
Centre arranged for Two Cellos.
Centre - Two Cellos.
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2 Violoncelles (duo)
#
AVANCÉ
#
Contemporain
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Sophia Mackson
#
Centre - Two Cellos.
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Sophia Mackson
#
SheetMusicPlus
Cello Duet Cello - Level 5 - SKU: A0.1372278 Composed by Sophia Mackson. Classical,Contemporary. Score. 6 pages. Sophia Mackson #956559. Published by So...
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Cello Duet Cello - Level 5 - SKU: A0.1372278 Composed by Sophia Mackson. Classical,Contemporary. Score. 6 pages. Sophia Mackson #956559. Published by Sophia Mackson (A0.1372278). This work was originally written for two violas. The composer has now arranged it for two cellos.This work features soaring melodic lines and fast demisemiquaver passages. It is an ideal work for advanced players to use in their repetoire or in a concert program.A foreword by the composer:“First and foremost, this work is dedicated to Kristen Scott. It stands as a reminder of a lifelong friendship, and how strong that friendship is. Thank you for supporting me and being so wonderful.This work I began writing in May of this year, and initially it was just an improvisation for one viola. I had then realised after trying to write for Solo Viola how difficult it was, since it is such a unique instrument. I wanted to make the most of the technical and musical capabilities of the instrument, so I added another Viola. With that addition, each motif seemed to make more sense and the music just flowed. Centre is based on the concept of centring oneself, but also the beauty in being surrounded by motion; by seeing things happening around you and being able to observe. Just being allowed to exist, in a way.I’ve always been inspired by Australian composers, especially since I have been lucky enough to be surrounded by their music at different points in my life. My teacher Patricia Pollett, has been actively involved in advocating for Australian composition for the viola, including commissions, recording and performances. So, being able to take my work to our lessons was hugely thought provoking and inspiring. The insights she gave helped to access more depth and meaning within the work.â€.
$10.00 ≈
£7.62
Centre for Two Violas
Centre for Two Violas
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2 Altos (duo)
#
AVANCÉ
#
Contemporain
#
Sophia Mackson
#
Centre for Two Violas
#
Sophia Mackson
#
SheetMusicPlus
Viola Duet Viola - Level 5 - SKU: A0.1372266 Composed by Sophia Mackson. Classical,Contemporary. Score. 6 pages. Sophia Mackson #956545. Published by So...
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Viola Duet Viola - Level 5 - SKU: A0.1372266 Composed by Sophia Mackson. Classical,Contemporary. Score. 6 pages. Sophia Mackson #956545. Published by Sophia Mackson (A0.1372266). This work for two violas features soaring melodic lines and moments of fast paced demisemiquavers. It is ideal for advanced players who would like to add a piece that is very unique to their repetoire or program. A foreword from the composer:“First and foremost, this work is dedicated to Kristen Scott. It stands as a reminder of a lifelong friendship, and how strong that friendship is. Thank you for supporting me and being so wonderful.This work I began writing in May of this year, and initially it was just an improvisation for one viola. I had then realised after trying to write for Solo Viola how difficult it was, since it is such a unique instrument. I wanted to make the most of the technical and musical capabilities of the instrument, so I added another Viola. With that addition, each motif seemed to make more sense and the music just flowed. Centre is based on the concept of centring oneself, but also the beauty in being surrounded by motion; by seeing things happening around you and being able to observe. Just being allowed to exist, in a way.I’ve always been inspired by Australian composers, especially since I have been lucky enough to be surrounded by their music at different points in my life. My teacher Patricia Pollett, has been actively involved in advocating for Australian composition for the viola, including commissions, recording and performances. So, being able to take my work to our lessons was hugely thought provoking and inspiring. The insights she gave helped to access more depth and meaning within the work.†- Sophia Mackson.
$10.00 ≈
£7.62
Same Old Story
Same Old Story
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Piano seul
#
FACILE
#
Louis Landon
#
Same Old Story
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Landon Creative, Inc.
#
SheetMusicPlus
Piano Solo - Level 2 - SKU: A0.761885 Composed by Louis Landon. Concert,Instructional,New Age,Standards. Score. 7 pages. Landon Creative, Inc. #6322391....
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Piano Solo - Level 2 - SKU: A0.761885 Composed by Louis Landon. Concert,Instructional,New Age,Standards. Score. 7 pages. Landon Creative, Inc. #6322391. Published by Landon Creative, Inc. (A0.761885). Same Old Story was released on December 18, 2020. It is a single from the upcoming album, Provocative Piano. Recorded at the Peace Palace, Sedona, AZ on a Steinway B in September, 2020. It is available for streaming on Spotify, Apple Music and Pandora Radio It is also available for downloading at iTunes, Amazon and Bandcamp There's a sadness to this piece. Some things never change. The same theme keeps returning. There are places in the music where it seems like something different might happen, but then it goes back to the same old story. Things do change over time, but consciously seeing what needs to change in oneself requires awareness and effort. It is definitely worthwhile to make the effort to change and grow. Pproduced, arranged, composed & performed by Louis Landon Published by Landon Creative, Inc. BMI Louis Landon is a Steinway Artist Music mastering by Michael McDonald, Syntharts, Eugene, OR Cover photo and design by Louis Landon.
$5.25 ≈
£4.00
Small Delights
Small Delights
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Piano, Voix et Guitare
#
INTERMÉDIAIRE
#
Melanie B Guerin
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Small Delights
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Melanie B Guerin
#
SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1190512 Composed by Melanie B Guerin. Broadway,Contemporary,Musical/Show. Score. 9 pages. Melanie B Guerin ...
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Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1190512 Composed by Melanie B Guerin. Broadway,Contemporary,Musical/Show. Score. 9 pages. Melanie B Guerin #790091. Published by Melanie B Guerin (A0.1190512). Solo song for alto or mezzo-soprano (G3-Bb4)From the musical The Happiness ProjectA song about all the small delightful things that happen every day and make life a little sweeter.A performance of the song in the show can be found at 26:23 in the Youtube video linked below.www.melaniebguerin.com.
$4.75 ≈
£3.62
Jesus Shall Reign Where'er the Sun
Jesus Shall Reign Where'er the Sun
#
Piano seul
#
AVANCÉ
#
John Hatton
#
Paul Thurmond
#
Jesus Shall Reign Where'er the
#
Paul Thurmond
#
SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.828227 Composed by John Hatton. Arranged by Paul Thurmond. 20th Century,Baroque,Christian,Sacred. Score. 7 pages. Paul Th...
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Piano Solo - Level 5 - SKU: A0.828227 Composed by John Hatton. Arranged by Paul Thurmond. 20th Century,Baroque,Christian,Sacred. Score. 7 pages. Paul Thurmond #4968929. Published by Paul Thurmond (A0.828227). Tune: DUKE STREETUse: Prelude, PostludeOne Sunday my church was singing Jesus Shall Reign Where’er the Sun as the opening hymn. It’s our tradition that the last stanza of a hymn is sung in unison, so that I as the organist can change the harmonization and keep things interesting. Sometimes I know ahead of time what I’m going to do, and sometimes I make it up on the spot.On this particular morning I planned on being spontaneous. (Can spontaneity be planned?) When we got to the final stanza, I threw on the 16′ pedal reed and went to town.I don’t know if this is the case for all musicians, but while I’m playing my brain is working on several different levels. Most of these are involved in actually playing the music, but there’s also a running commentary on how things are going. This commentary is usually really boring: It’s going okay. It’s going okay. It’s going okay. Sometimes the messages are more interesting: Uh-oh. She just dropped her mute. I missed that chord; remember to circle it when we’re done. My page turner appears to be on fire.So: We’re in the final stanza of Jesus Shall Reign Where’er the Sun. Big, majestic hymn. Over a hundred congregants and choir members are enthusiastically singing in unison. I’m leading them from the organ with an improvised accompaniment that involves all of my limbs. It’s fair to say that I was concentrating hard.Suddenly the commentary part of my brain breaks in: Dude, your feet are totally playing Canon in D. Cool!Canon in D is the most famous work of Johann Pachelbel, a German composer who preceded Bach by a few decades. It’s overused at weddings, but it’s actually a really good piece of music. The original is for three violins and a basso continuo part, which would usually have been played by harpsichord and cello. In this case, the basso continuo plays the same eight measures again and again throughout the piece. This technique of repetition is called a ground bass. While that’s going on, the violins play several different themes on top of it.When I was improvising that Sunday, my feet had accidentally wandered into that ground bass part, which happened to fit nicely with the melody we were singing. During the sermon (sorry Pastor!) I started going through the violin themes in my head, seeing if any of them could also match up with the hymn tune. Some of them worked and some didn’t. I decided to write a sort of theme and variations, where the hymn tune appears in various forms. Sometimes it’s played along with one of the violin themes, and sometimes a violin theme serves as an interlude on its own. And except for one passage, the left hand is always playing some version of the basso continuo theme. I also changed the meter from 4/4 to 3/4 to make it more interesting. It culminates in a climax worthy of a king. I hope you enjoy it.
$4.99 ≈
£3.80
The War Prayer (Downloadable)
The War Prayer (Downloadable)
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Voix haute
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Steven Mark Kohn
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The War Prayer
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
High voice and piano - Medium - SKU: MQ.8673-E Composed by Steven Mark Kohn. 15 pages. E. C. Schirmer Music Company - Digital #8673-E. Published by E. C...
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High voice and piano - Medium - SKU: MQ.8673-E Composed by Steven Mark Kohn. 15 pages. E. C. Schirmer Music Company - Digital #8673-E. Published by E. C. Schirmer Music Company - Digital (MQ.8673-E). English.This text has been adapted from Mark Twain's The War Prayer, which he wrote in 1904-5 to protest America’s involvement in the Spanish-American War. His family convinced him to keep if from publication, fearing it was too controversial. Published after his death, Twain makes the case that if God causes all things to happen and blesses select people, then He must also, willingly, deny others his blessing. It is the other side of prayer, the unspoken side, which Twain so brilliantly characterized in The War Prayer. Duration 8:00.
$10.00 ≈
£7.62
The Story Of Reuben Clamzo & His Strange Daughter
The Story Of Reuben Clamzo & His Strange Daughter
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Chorale TTBB
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FACILE
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo &am
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Edition Craig Hanson
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SheetMusicPlus
Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edi...
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Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99 ≈
£3.04
Chemistry - Song for Contralto Voice & Piano
Chemistry - Song for Contralto Voice & Piano
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Piano, Voix
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Rock
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Arthur Breur
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Chemistry - Song for Contralto
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Floating Home Music
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SheetMusicPlus
Piano,Vocal,Voice - SKU: A0.913979 Composed by Arthur Breur. Pop,Rock. Score. 8 pages. Floating Home Music #4780747. Published by Floating Home Music (A...
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Piano,Vocal,Voice - SKU: A0.913979 Composed by Arthur Breur. Pop,Rock. Score. 8 pages. Floating Home Music #4780747. Published by Floating Home Music (A0.913979). This piece was commissioned by Annette Saarinen for her granddaughter Aurora, who happens to be studying chemistry (among other things) so she can pursue her goals of working on environmental restoration.Composing a song that is a gift for a friend's granddaughter is fraught with a number of perils, particularly when one of the inspirations is that the recipient of the song likes Adele tunes. Adele's songs are mostly romantic songs about lost or unrequited love, so the lyrics couldn't really come across as being FROM the grandmother.Knowing that Aurora is studying chemistry, however, gave me a clue as to how I could make the piece work nicely: make it sound like a love song about the chemistry between two people, when in fact, the lyrics are talking about how our use of chemistry is both responsible for the state of our environment and the means we must use to fix it.I did use my usual trick of starting with words or names, and have composed both Aurora and Chemistry into the notes of the piece, the former in the accompaniment, and the latter as the foundation for the verse melody.Duration: 3m54s.
$5.00 ≈
£3.81
Symphony In Riffs
Symphony In Riffs
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Ensemble Jazz
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AVANCÉ
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Benny Carter
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Peter Stöve
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Symphony In Riffs
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Peter Stove
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 5 - SKU: A0.1129024 Composed by Benny Carter. Arranged by Peter Stöve. 20th Century,Jazz. Score and parts. 76 pag...
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Jazz Ensemble Jazz Ensemble - Level 5 - SKU: A0.1129024 Composed by Benny Carter. Arranged by Peter Stöve. 20th Century,Jazz. Score and parts. 76 pages. Peter Stove #729548. Published by Peter Stove (A0.1129024). Peter Stöve ‘What If Benny Goodman…’ series, Vol. 1! (A take-off on events that could have happened with the Benny Goodman Orchestra’s book of arrangements if things in jazz history had taken another turn). What if Benny Carter had not sailed for Europe in 1935 to become staff arranger with the BBC, but instead had helped out Benny Goodman with providing scores for his ‘Let’s Dance’ program? And suppose Carter had done the same trick that Fletcher Henderson pulled later on, e.g. adapting already existing scores of his own band for the Benny Goodman Orchestra? Carter’s ‘Symphony In Riffs’ is presented here as a piece that could have been a cornerstone of the Goodman band library. The sax soli written by Carter is there, but the clarinet dominates the second strain in a Glenn Miller-styled section, and of course later with an extended solo. Other soloists include trb 1, piano, tpt 2 and ts 1. The two different strains are juxtaposed to each other, to make for a maximum of variety. Scored for the line-up of the Benny Goodman Orchestra of 1935: solo clt/2 as/2 ts/3 tpt/2 trb/rhy. Tpt 1 to Eb3. Difficult for multiple reasons: • The clarinet soloist must be a first-class ‘BG-wannabe’. Fluent soloist, comfortable in the upper register. • Strong lead-alto required, with an old-skool ‘singing’ tone. • Lead trumpet must be able to ‘carry off’ the final section from bar 197 onwards. • Driving rhythm section needed; swinging (preferably acoustic) rhythm guitarist and a bassist who doesn’t shy away from playing compelling bass-lines. If your band meets these requirements: have fun!
$49.99 ≈
£38.11
Think About That Day - a Christmas duet and piano - different bridge
Think About That Day - a Christmas duet and piano - different bridge
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Piano, Voix et Guitare
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FACILE
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Noël
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Connie Boss
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Think About That Day - a Chris
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Connie Boss
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 2 - SKU: A0.801548 Composed by Connie Boss. Christian,Christmas,Gospel,Sacred. Score. 4 pages. Connie Boss #6097477. Pu...
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Guitar,Piano,Vocal,Voice - Level 2 - SKU: A0.801548 Composed by Connie Boss. Christian,Christmas,Gospel,Sacred. Score. 4 pages. Connie Boss #6097477. Published by Connie Boss (A0.801548). This is version number 2 of this song. I decided to make an SATB version of the first one I did that was a duet. I decided to change the bridge. I decided I really liked it, so I condensed it somewhat into a duet with the new bridge. You can listen to both and decide which one you like better. I really love this song because when I wrote it, I thought back about how life would have been back in those days as apposed to life today. In some ways, life was much simpler, but at the same time a hard life. Today is similar but in a different way. Some things are easier but life is not as simple as it once was. I can't imagine an angel appearing before me and giving me a message from God as what happened to Mary and Joseph. cdboss@cvalley.net. Lyrics below.
$5.00 ≈
£3.81
Aquiles Priester's Top 100 Drum Fills Score Book
Aquiles Priester's Top 100 Drum Fills Score Book
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Aquiles Priester
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Intermediate
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Aquiles Priester's Top 100 Dru
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Percussion - Beginning; Intermediate; Advanced - SKU: M0.30398MEB Composed by Aquiles Priester. Percussion: Snare Drum. E-book and online audio. Mel Bay...
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Percussion - Beginning; Intermediate; Advanced - SKU: M0.30398MEB Composed by Aquiles Priester. Percussion: Snare Drum. E-book and online audio. Mel Bay Publications - Digital Sheet Music #30398MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.30398MEB). ISBN 9781619116764. 8.75x11.75 inches.Usually books become movies. The history of the seventh art is so filled with examples that it's not worth citing one specific movie. That is the natural order of things. But what when this natural order is inverted and the movie becomes a book? That is what happened with drummer Aquiles Priester. After releasing two videos where he shows his unbeatable technique, in 2013 he released Aquiles Priester's Top 100 Drum Fills, a selection of fills that he recorded with the various bands he played in - Hangar, Angra, Freakeys. So, during the recording other fills were created and, as they were interesting ideas, they ended up being included in the package. This resulted in 150 fills, 100 of which were selected for the video - 25 ended up being included as bonus tracks, including themes with Hangar, Tony MacAlpine and Midas Fate. Like everything else he does, success was immediate. The video was voted Best Educational DVD of The Year by the renowned North-American magazine Modern Drummer, another feat for a musician used to accumulating similar feats. Now Aquiles Priester's Top 100 Drum Fills has just become a book. Many people asked me for the scores of the fills shown in the video, says Aquiles, and as I had almost everything written down, I decided to make their lives easier. It is another release by a musician used to breaking barriers as in 2011, when he became the only drummer in Brazilian history to enter the ranking of Modern Drummer magazine as 5th best prog metal drummer of the world, next to names like Neil Peart, Mike Portnoy, Gavin Harrison and Marco Minnemann. In 2015 Aquiles was once more nominated to take part of another poll and was elected best drummer in the hard rock category by the North-American magazine Drum!. More than that, he was also the first Brazilian drummer to have signature instruments released by manufactures such as Paiste, Pro-Mark and Mapex, besides having built a solid international career accompanying renowned musicians such as Tony MacAlpine and Vinnie Moore and being part of one of the biggest revelations of Brazilian metal in the last ten years, the band Noturnall. Includes access to online audio.
$19.99 ≈
£15.24
One Sows for the Benefit of Another Age - Orchestra
One Sows for the Benefit of Another Age - Orchestra
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Orchestre
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AVANCÉ
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Contemporain
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Kyle Vanderburg
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One Sows for the Benefit of An
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NoteForge
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1002835 Composed by Kyle Vanderburg. Contemporary. Score and parts. 112 pages. NoteForge #5793397. Published by NoteF...
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Full Orchestra - Level 5 - SKU: A0.1002835 Composed by Kyle Vanderburg. Contemporary. Score and parts. 112 pages. NoteForge #5793397. Published by NoteForge (A0.1002835). I started writing what would become One Sows for the Benefit of Another Age in 2013, as I was sketching ideas for what became a piano trio. I liked what I had created, but two things became evident: The piece was destined to be for orchestra, and I was not good enough as a composer to finish it. Over the next seven years, I kept returning to this piece in my spare time, adding some sections, tweaking some others, and at some point I gained the experience to finish it. But the trade-off was that I no longer had the time. At least until Spring of 2020, when the COVID-19 pandemic put most of my projects on hold, and I was able to return to--and finish--the work.The title came last. My ideas while I was writing centered around Americana (I was listening to a lot of Copland, Barber, and Ives) and infusing my history and experience in the Ozarks and on the plains. I knew I wanted to make use of the idea of illumination, of dawn. I wanted to start in the shadows and end aglow. The darkness was such a defining feature that my working title was Aegri Somnia, loosely translated from Latin as troubled dreams. As I continued working, I realized that the focus wasn't the darkness--the focus was the change.I discuss change a lot in my teaching. Students often see change as transformative change--massive, radical, sweeping change, like winning the lottery, or winning an audition. Transformative change is easy--it usually involves hoping for a situation or a Deus ex Machina, and if it happens, it benefits us immediately. Iterative change, however--small, repeated, incremental change that builds up over time--is hard. An extra half-hour of work every day, a little extra contributed to savings every month, these changes add up over time and become significant. But it requires intention and action, and it doesn't reap immediate benefits. It may not end up benefitting us at all.One Sows changes iteratively. It starts from a dark place, but is sprinkled with seeds of hope. A descending motive introduced in the violins brings us out of the darkness, albeit slowly. The idea spreads, develops, and eventually becomes part of a new idea, a new paradigm, that takes over.In searching for a title, I came across Serit ut alteri saeclo prosit, North Dakota's Latin state motto, whose English translation is the title of this work. It's a recent addition to the North Dakota statutes, but a timeless message. Our work isn't finished yet.
$49.99 ≈
£38.11
20 Classical Piano Pieces for Elementary Piano Students (with all piano fingering)
20 Classical Piano Pieces for Elementary Piano Students (with all piano fingering)
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Piano Facile
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DÉBUTANT
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Classique
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Various
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20 Classical Piano Pieces for
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Scott Camp
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SheetMusicPlus
Composed by Various. Arranged by Scott Camp. Classical Period, Etudes and Exercises, Repertoire, Technique Training, Recital. 75 pages. Published by S...
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Composed by Various. Arranged by Scott Camp. Classical Period, Etudes and Exercises, Repertoire, Technique Training, Recital. 75 pages. Published by Scott Camp
This is the collection of classical piano repertoire I created for work with my own students, most of whom were not primarily interested in "classical" music.
In my experience, every elementary piano student should be given the opportunity to successfully play:
Spinning Song (even if you leave out the middle section at first)
Minuet in G (page one)
Fur Elise (page one)
Eventually, they should experience (if not master--that's ultimately up to them) each piece in this collection.
All hand positions and finger numbers are presented so that students can spend their time preparing successfully--not "figuring out" with endless frustration and incorrect solutions.
"Minuet in G" from the Bach notebook is a great example. Let's consider just the first page. Many (most) elementary students would love to play this piece. The RH by itself is easy. The LH is also "not difficult", but it's not self-evident, either. The notes are easy enough, and the fingering choices seem inconsequential. You could play it with several different fingering solutions.
Hands Together: Humans can pay attention to only one thing at a time: in this case, the RH or the LH. Whichever hand is receiving the attention, the other must be on "automatic pilot". You can switch focus rapidly to give the appearance that you are paying attention to two things equally, but that is not what is happening.
So... both hands need to be rehearsed (better word than "practiced") until the correct execution is the "default" behavior.
If that (sufficient correct repetetition) has not happened, then consistent successful performance with both hands is never achieved. Students complain that they wish they could be more "consistent". They don't have a chance, sadly.
"Practice Makes... "
If you said "Perfect" then you've fallen into a sinister trap.
"Practice makes Permanent." When a student actually does what has been assigned, in many cases that is the beginning of the end of their piano career.
Here's the process in general:
Students "write in their own fingering" and then, and then practice (repeat) their incorrect solutions. They are unable to perform the desired piece consistently and don't know why. How long can a student tolerate this ineffective approach?
That's something for us professionals to consider.
Perfect for introducing classical repertoire (similar to Suzuki, Bastien Piano Literature, etc). The advantage here is that all fingering is included so that students play more!
Contents
Minuet in G from the Notebook for Anna Magdalena Bach
Minuet in G from the Notebook for Anna Magdalena Bach
Minuet in G minor from the Notebook for Anna Magdalena Bach
Musette in D from the Notebook for Anna Magdalena Bach
Minuet in F Wolfgang Amadeus Mozart
Ecossaise in G Ludwig van Beethoven
Sonatina in G Ludwig van Beethoven
I Allegretto
II Romanze
Sonatina (In the Antique Style) Op. 157, No. 4 Fritz Spindler
I Allegro
The Wild Horseman, Op. 68, No. 8 Robert Schumann
Fur Elise (Famous Page 1) Ludwig van Beethoven
Spinning Song, Op. 14, No. 4 Albert Elmenreich
Arabesque, Op. 100, No. 2 Friedrich Burgmller
Ballade, Op. 100, No. 15 Friedrich Burgmller
Solfeggietto Carl Philipp Emanuel Bach
Toccatina, Op. 27, No. 12 Dmitri Kabalevsky
Fur Elise (Complete) Ludwig van Beethoven
Sonatina, Op. 55, No. 1 Friedrich Kuhlau
I Allegro
Sonatina, Op. 36, No. 3 Muzio Clementi
I Spiritoso
La Vlocit, Op. 109, No. 10 Friedrich Burgmller
These are the documents that I have used to introduce classical music to my piano students. No note is presented without its corresponding proper fundamental technique (fingering). In other words, there is no such thing as a note separate from its hand position and fingering.
The hand position notation is used to better communicate what exactly is being demanded of the student. Students? repertoire is no longer limited by their music staff reading ability. Nor do they suffer from their own painful inability to solve technical issues. This approach restores ?playing music on the piano? to primacy and supports ?helping a student play music on the piano? as the central activity of the piano lesson.
Weak students are able to play real (not simplified) music and not feel penalized. Strong students complete their preparation even more efficiently. In all cases, spending less time on fingering means more time for higher levels of musicianship: coordination, pedaling, physical technique, control, tone, dynamics, tempo, rhythm, articulation, phrasing, expression, emotion, drama, compositional analysis, and historical context.
Good luck!
Scott Camp
scottcampislandpiano@gmail.com
$3.99 ≈
£3.04
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