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176
Imogen Heap - Hide and Seek
Imogen Heap - Hide and Seek
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Piano, Voix
#
INTERMÉDIAIRE/AVANCÉ
#
Rock
#
Imogen Heap
#
Mario Stallbaumer
#
Imogen Heap - Hide and Seek
#
Mario Stallbaumer
#
SheetMusicPlus
Piano Solo, Piano/Vocal/Chords - Intermediate - Digital Download By Imogen Heap. Arranged by Mario Stallbaumer. 9 pages. Published by Mario Stallba...
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Piano Solo, Piano/Vocal/Chords - Intermediate - Digital Download By Imogen Heap. Arranged by Mario Stallbaumer. 9 pages. Published by Mario Stallbaumer
This is an accurate piano arrangement of the whole song which is not too hard to play, and sounds fantastic. The whole melody is included in the piano part, so it sounds great as an instrumental solo version.
However, this sheet music also comes with a system for the singer, and the full lyrics are included, so you can also use these sheets to accompany a singer, or sing along yourself!
With this piano sheet music, you can play "Hide and Seek" in a beautiful piano version.
If you like this arrangement, please consider leaving a review - it would mean a lot to me!
"Hide and Seek" was released in 2005 as the first single from Imogen Heap's second album "Speak for Yourself", and became one of her most famous songs.
The song consists of a solo voice recording, accompanied by keyboard synth chords with a vocoder effect, creating a wonderful, unique electronic a cappella sound.
Here are the full lyrics to "Hide and Seek" by Imogen Heap:
Where are we?
What the hell is going on?
The dust has only just begun to form
Crop circles in the carpet
Sinking, feeling
Spin me around again
And rub my eyes
This can't be happening
When busy streets
A mess with people
Would stop to hold
Their heads heavy
Hide and seek
Trains and sewing machines
All those years
They were here first
Oily marks appear on walls
Where pleasure moments hung
Before the takeover
The sweeping insensitivity
Of this still life
Hide and seek
Trains and sewing machines
(You won't catch me around here)
Blood and tears
They were here first
Mmm, what'd you say?
Mmm, that you only meant well?
Well, of course you did
Mmm, what'd you say?
Mmm, that it's all for the best?
Of course it is
Hmm, what'd you say?
Hmm, that it's just what we need
You decided this
What'd you say?
Hmm, what did she say?
Ransom notes keep falling out your mouth
Mid-sweet talk, newspaper word cut-outs
(Paper word cut-outs)
Speak no feeling, no I don't believe you
(I don? t believe you)
You don't care a bit, you don't care a bit
Ransom notes keep falling out your mouth
Mid-sweet talk, newspaper word cut-outs
(Hide and seek)
Speak no feeling, no I don't believe you
You don't care a bit, you don't care
You don't care a bit
Oh no, you don't care a bit
Oh no, you don't care a bit
(Hide and seek)
Oh no, you don't care a bit
You don't care a bit
You don't care a bit
$4.99 ≈
4.50€
Eclipse for Mezzo-Soprano and Piano
Eclipse for Mezzo-Soprano and Piano
#
Piano, Voix
#
INTERMÉDIAIRE/AVANCÉ
#
Matthew Nunes
#
Eclipse for Mezzo-Soprano and
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Matthew Nunes Music
#
SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.489186 Composed by Matthew Nunes. Broadway,Classical,Contemporary,Musical/Show. Score. 10 pages. Matthew Nunes Mus...
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Piano,Vocal,Voice - Level 4 - SKU: A0.489186 Composed by Matthew Nunes. Broadway,Classical,Contemporary,Musical/Show. Score. 10 pages. Matthew Nunes Music #105699. Published by Matthew Nunes Music (A0.489186). Listen to this piece hereEclipse is a work for mezzo-soprano and piano meant to be part of a song cycle. This work is meant to be sung by a woman who has removed herself from involvement in any more romantic relationships. This piece reveals why, as she bore witness to the acts of an unfaithful lover. Haunted by these memories she taps into a well of unresolved bitterness that consumes her and she is unable to suppress her pain. It was my pleasure to work with Amber Farish (Mezzo-Soprano) and Brandon Clinton (Piano) for the premiere of this piece on November 14th, 2011 in Orlando, Florida.
$4.99 ≈
4.50€
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
#
Contemporain
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Gyorgy Ligeti
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Concerto
#
Schott Music - Digital
#
SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
21.64€
Suite For Clarinet
Suite For Clarinet
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Clarinette et Piano
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INTERMÉDIAIRE/AVANCÉ
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Caleb M
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Suite For Clarinet
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C.M.Brandon
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SheetMusicPlus
B-Flat Clarinet,Piano - Level 4 - SKU: A0.1225338 Composed by Caleb M. Brandon. 20th Century,Chamber,Classical,Instructional,Traditional. Score and part...
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B-Flat Clarinet,Piano - Level 4 - SKU: A0.1225338 Composed by Caleb M. Brandon. 20th Century,Chamber,Classical,Instructional,Traditional. Score and part. 32 pages. C.M.Brandon #821427. Published by C.M.Brandon (A0.1225338). A three movement suite which highlights the versatility of the clarinet. In the Tradition – An enjoyable piece written in the “textbook†Sonata form. One will be able to find an Introduction, Primary Theme, Transition, Secondary theme, Closing Theme, Development, and the Recapitulation. The classical styling showcases the clarinet’s versatility, range, and colors. In the Tinnabular – This melancholy piece explores the minimalist style of composition invented by Arvo Pärt called tintinnabuli. The two voice types characterized in this method (‘tintinnabular’ arpeggiating voice/the stepwise diatonic voice) are found in the piano while the clarinet adds a melody. Both of these voices expand, note by note, over time. In the Time of Rag – A lively and entertaining piece in the ‘ragtime’ style. Performers are encouraged to improvise, as was customary for these pieces. The drum set is not necessary but does add a great dimension to the music. From my research, I believe the style of drumming needed is “2nd line drummingâ€. The high hat and snare notation is meant to simulate the beats using brushes, rather than sticks, on the snare while maintaining the march rhythms. Washboards, tambourines, and the like could be incorporated at the discretion of the percussionist. Dynamic levels of the drums should not overtake the clarinet and piano but enhance the overall performance.
$2.99 ≈
2.70€
Stand Up
Stand Up
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Piano, Voix
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FACILE
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Contemporain
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Cynthia Erivo
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Aaron Makikalli
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Stand Up
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Aaron Makikalli
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SheetMusicPlus
Piano,Vocal,Voice - Level 2 - SKU: A0.876142 By Cynthia Erivo. By Cynthia Echeumuna-Erivo and Joshuah Campbell. Arranged by Aaron Makikalli. Contemporar...
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Piano,Vocal,Voice - Level 2 - SKU: A0.876142 By Cynthia Erivo. By Cynthia Echeumuna-Erivo and Joshuah Campbell. Arranged by Aaron Makikalli. Contemporary. Score. 12 pages. Aaron Makikalli #5200907. Published by Aaron Makikalli (A0.876142). From the powerful movie Harriet, Cynthia Erivo's Oscar-nominated gospel ballad is inspiring to performer and listener alike. This arrangement is meant for piano and voice or other solo instrument. Duration: 4:30.
$4.99 ≈
4.50€
Crossing Jordan: Three Spirituals for violin, piano and cello
Crossing Jordan: Three Spirituals for violin, piano and cello
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Piano Quatuor: piano, 2 violons, violoncelle
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AVANCÉ
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Musique Sacrée
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Maria Thompson Corley
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Maria Thompson Corley
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Crossing Jordan: Three Spiritu
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Maria Thompson Corley
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SheetMusicPlus
Instrumental Duet,Piano Cello,Instrumental Duet,Piano,Violin - Level 5 - SKU: A0.1272508 By Maria Thompson Corley. By Anonymous. Arranged by Maria Thomp...
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Instrumental Duet,Piano Cello,Instrumental Duet,Piano,Violin - Level 5 - SKU: A0.1272508 By Maria Thompson Corley. By Anonymous. Arranged by Maria Thompson Corley. 21st Century,Classical,Religious,Sacred,Spiritual. 35 pages. Maria Thompson Corley #864733. Published by Maria Thompson Corley (A0.1272508). “Crossing Jordan†grew out of my daughter Kiana’s surprise request that I arrange a spiritual for voice, piano and cello for her senior recital. She received a degree in commercial music the year before COVID shut everything down, at a time before climate change made blizzards an anomaly here in Central PA. As a result, snow days still existed. I spent one of them doing the first draft of “Deep River,†her favorite.Later, I decided that if singers engage a cellist for a concert, they might like to program more than one piece for them, so I chose two more water-themed spirituals to complete the set. “His Name So Sweet†is a more meditative version of the song than I’ve generally heard. I wanted the piano, cello, and briefly the voice to imitate the fountain in the text. The mood is ecstasy, resulting from the fundamental change that baptism is meant to create. “Deep River†also includes “Michael Row The Boat Ashore†and “The Water Is Wide.†The latter isn’t a spiritual, however, taken together the message is that the river is deep, the water is wide, but with (the Archangel?) Michael’s help, Jordan can be crossed. “Wade in the Water†is one of the most well-known spirituals. I focus on the idea of escaping enslavement: the opening is quiet, furtive, maybe even nervous. The Moses in the text can be understood to be Harriet Tubman, who might urge escapees to wade in the water so pursuing dogs couldn’t follow their scent. In my mind, the ending symbolizes that the party has vanished, never to be enslaved again.The first instrumental version of “Deep River†was for trumpet and piano, performed by my sister, Alicia Thompson, and her son, Justin Griffin, during a church service in Atlanta shortly after I arranged it. After hearing a recording, I took borrowed her idea of adding a repeat (which she did to allow enough time for the ushers to take up collection). The clarinet, cello and piano version was premiered by the Isosceles Trio (Doris Hall-Gulati (clarinet), Sara Male (cello), and me (piano)). When Naima Burrs, violinist and conductor of the Petersburg Symphony, asked if I had any pieces for trio, I created a version for violin, piano and cello. Please note that the YouTube version for clarinet is slightly different than the one with violin, to accommodate the differences in range.
$30.00 ≈
27.06€
Ain't Meant for the Morning
Ain't Meant for the Morning
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Piano, Voix
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INTERMÉDIAIRE/AVANCÉ
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Andy Fitzpatrick
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Ain't Meant for the Morning
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Aindriu Mac Giolla Padraig
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.1022878 Composed by Andy Fitzpatrick. Country,Jazz,Pop,Rock. Score. 5 pages. Aindriu Mac Giolla Padraig #3508699. ...
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Piano,Vocal,Voice - Level 4 - SKU: A0.1022878 Composed by Andy Fitzpatrick. Country,Jazz,Pop,Rock. Score. 5 pages. Aindriu Mac Giolla Padraig #3508699. Published by Aindriu Mac Giolla Padraig (A0.1022878). From the album Antoinette Plaza by Andy Fitzpatrick arranged for piano/vocal/guitar. With vocal melody, lyrics, piano accompaniment, chord names. .
$1.99 ≈
1.79€
"Deep River" from Crossing Jordan, arranged for tenor, piano and viola
"Deep River" from Crossing Jordan, - tenor, piano and viola
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Piano, Voix
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INTERMÉDIAIRE/AVANCÉ
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Spiritual
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Maria Thompson Corley
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"Deep River" from Cr
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Maria Thompson Corley
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.1284058 Composed by Spiritual. Arranged by Maria Thompson Corley. 21st Century,Chamber,Sacred,Spiritual,Traditiona...
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Piano,Vocal,Voice - Level 4 - SKU: A0.1284058 Composed by Spiritual. Arranged by Maria Thompson Corley. 21st Century,Chamber,Sacred,Spiritual,Traditional. Score. 9 pages. Maria Thompson Corley #875231. Published by Maria Thompson Corley (A0.1284058). “Crossing Jordan†grew out of my daughter Kiana’s surprise request that I arrange a spiritual for voice, piano and cello for her senior recital. She received a degree in commercial music the year before COVID shut everything down, at a time before climate change made blizzards an anomaly here in Central PA. As a result, snow days still existed. I spent one of them doing the first draft of “Deep River,†her favorite.Later, I decided that if singers engage a cellist for a concert, they might like to program more than one piece for them, so I chose two more water-themed spirituals to complete the set. “His Name So Sweet†is a more meditative version of the song than I’ve generally heard. I wanted the piano, cello, and briefly the voice to imitate the fountain in the text. The mood is ecstasy, resulting from the fundamental change that baptism is meant to create. “Deep River†also includes “Michael Row The Boat Ashore†and “The Water Is Wide.†The latter isn’t a spiritual, however, taken together the message is that the river is deep, the water is wide, but with (the Archangel?) Michael’s help, Jordan can be crossed. “Wade in the Water†is one of the most well-known spirituals. I focus on the idea of escaping enslavement: the opening is quiet, furtive, maybe even nervous. The Moses in the text can be understood to be Harriet Tubman, who might urge escapees to wade in the water so pursuing dogs couldn’t follow their scent. In my mind, the ending symbolizes that the party has vanished, never to be enslaved again.This arrangement was created at the request of pianist Julia Carey. It is the only piece of the three that has been transcribed for this combination. The YouTube video is for soprano, piano and cello.
$12.99 ≈
11.72€
"Deep River," from Crossing Jordan for baritone, piano and cello
"Deep River," from Crossing Jordan for baritone, piano and cello
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Piano, Voix
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INTERMÉDIAIRE/AVANCÉ
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Spiritual
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Maria Thompson Corley
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"Deep River," from C
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Maria Thompson Corley
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.1284044 Composed by Spiritual. Arranged by Maria Thompson Corley. 21st Century,Chamber,Sacred,Spiritual,Traditiona...
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Piano,Vocal,Voice - Level 4 - SKU: A0.1284044 Composed by Spiritual. Arranged by Maria Thompson Corley. 21st Century,Chamber,Sacred,Spiritual,Traditional. Score. 9 pages. Maria Thompson Corley #875216. Published by Maria Thompson Corley (A0.1284044). “Crossing Jordan†grew out of my daughter Kiana’s surprise request that I arrange a spiritual for voice, piano and cello for her senior recital. She received a degree in commercial music the year before COVID shut everything down, at a time before climate change made blizzards an anomaly here in Central PA. As a result, snow days still existed. I spent one of them doing the first draft of “Deep River,†her favorite.Later, I decided that if singers engage a cellist for a concert, they might like to program more than one piece for them, so I chose two more water-themed spirituals to complete the set. “His Name So Sweet†is a more meditative version of the song than I’ve generally heard. I wanted the piano, cello, and briefly the voice to imitate the fountain in the text. The mood is ecstasy, resulting from the fundamental change that baptism is meant to create. “Deep River†also includes “Michael Row The Boat Ashore†and “The Water Is Wide.†The latter isn’t a spiritual, however, taken together the message is that the river is deep, the water is wide, but with (the Archangel?) Michael’s help, Jordan can be crossed. “Wade in the Water†is one of the most well-known spirituals. I focus on the idea of escaping enslavement: the opening is quiet, furtive, maybe even nervous. The Moses in the text can be understood to be Harriet Tubman, who might urge escapees to wade in the water so pursuing dogs couldn’t follow their scent. In my mind, the ending symbolizes that the party has vanished, never to be enslaved again.The YouTube link is for soprano.
$12.99 ≈
11.72€
Crossing Jordan: Three Spirituals for soprano, piano and cello
Crossing Jordan: Three Spirituals for soprano, piano and cello
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Piano, Voix
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AVANCÉ
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Musique Sacrée
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Maria Thompson Corley
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Maria Thompson Corley
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Crossing Jordan: Three Spiritu
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Maria Thompson Corley
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SheetMusicPlus
Piano,Vocal,Voice - Level 5 - SKU: A0.1272498 By Maria Thompson Corley. By Spiritual. Arranged by Maria Thompson Corley. 21st Century,Christian,Religiou...
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Piano,Vocal,Voice - Level 5 - SKU: A0.1272498 By Maria Thompson Corley. By Spiritual. Arranged by Maria Thompson Corley. 21st Century,Christian,Religious,Sacred,Spiritual. Score. 28 pages. Maria Thompson Corley #864723. Published by Maria Thompson Corley (A0.1272498). “Crossing Jordan†grew out of my daughter Kiana’s surprise request that I arrange a spiritual for voice, piano and cello for her senior recital. She received a degree in commercial music the year before COVID shut everything down, at a time before climate change made blizzards an anomaly here in Central PA. As a result, snow days still existed. I spent one of them doing the first draft of “Deep River,†her favorite.Later, I decided that if singers engage a cellist for a concert, they might like to program more than one piece for them, so I chose two more water-themed spirituals to complete the set. “His Name So Sweet†is a more meditative version of the song than I’ve generally heard. I wanted the piano, cello, and briefly the voice to imitate the fountain in the text. The mood is ecstasy, resulting from the fundamental change that baptism is meant to create. “Deep River†also includes “Michael Row The Boat Ashore†and “The Water Is Wide.†The latter isn’t a spiritual, however, taken together the message is that the river is deep, the water is wide, but with (the Archangel?) Michael’s help, Jordan can be crossed. “Wade in the Water†is one of the most well-known spirituals. I focus on the idea of escaping enslavement: the opening is quiet, furtive, maybe even nervous. The Moses in the text can be understood to be Harriet Tubman, who might urge escapees to wade in the water so pursuing dogs couldn’t follow their scent. In my mind, the ending symbolizes that the party has vanished, never to be enslaved again.
$27.00 ≈
24.35€
"His Name So Sweet" from Crossing Jordan, for soprano, piano and cello
"His Name So Sweet" from Crossing Jordan, for soprano, piano and cello
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Piano, Voix
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AVANCÉ
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Spiritual
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Maria Thompson Corley
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"His Name So Sweet"
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Maria Thompson Corley
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SheetMusicPlus
Piano,Vocal,Voice - Level 5 - SKU: A0.1284047 Composed by Spiritual. Arranged by Maria Thompson Corley. 21st Century,Christian,Sacred,Spiritual,Traditio...
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Piano,Vocal,Voice - Level 5 - SKU: A0.1284047 Composed by Spiritual. Arranged by Maria Thompson Corley. 21st Century,Christian,Sacred,Spiritual,Traditional. Score. 15 pages. Maria Thompson Corley #875219. Published by Maria Thompson Corley (A0.1284047). “Crossing Jordan†grew out of my daughter Kiana’s surprise request that I arrange a spiritual for voice, piano and cello for her senior recital. She received a degree in commercial music the year before COVID shut everything down, at a time before climate change made blizzards an anomaly here in Central PA. As a result, snow days still existed. I spent one of them doing the first draft of “Deep River,†her favorite.Later, I decided that if singers engage a cellist for a concert, they might like to program more than one piece for them, so I chose two more water-themed spirituals to complete the set. “His Name So Sweet†is a more meditative version of the song than I’ve generally heard. I wanted the piano, cello, and briefly the voice to imitate the fountain in the text. The mood is ecstasy, resulting from the fundamental change that baptism is meant to create. “Deep River†also includes “Michael Row The Boat Ashore†and “The Water Is Wide.†The latter isn’t a spiritual, however, taken together the message is that the river is deep, the water is wide, but with (the Archangel?) Michael’s help, Jordan can be crossed. “Wade in the Water†is one of the most well-known spirituals. I focus on the idea of escaping enslavement: the opening is quiet, furtive, maybe even nervous. The Moses in the text can be understood to be Harriet Tubman, who might urge escapees to wade in the water so pursuing dogs couldn’t follow their scent. In my mind, the ending symbolizes that the party has vanished, never to be enslaved again.
$12.99 ≈
11.72€
"Deep River," from Crossing Jordan, for soprano, piano and cello
"Deep River," from Crossing Jordan, for soprano, piano and cello
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Piano, Voix
#
INTERMÉDIAIRE/AVANCÉ
#
Spiritual
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Maria Thompson Corley
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"Deep River," from C
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Maria Thompson Corley
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.1284049 Composed by Spiritual. Arranged by Maria Thompson Corley. 21st Century,Chamber,Christian,Sacred,Traditiona...
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Piano,Vocal,Voice - Level 4 - SKU: A0.1284049 Composed by Spiritual. Arranged by Maria Thompson Corley. 21st Century,Chamber,Christian,Sacred,Traditional. Score. 7 pages. Maria Thompson Corley #875222. Published by Maria Thompson Corley (A0.1284049). “Crossing Jordan†grew out of my daughter Kiana’s surprise request that I arrange a spiritual for voice, piano and cello for her senior recital. She received a degree in commercial music the year before COVID shut everything down, at a time before climate change made blizzards an anomaly here in Central PA. As a result, snow days still existed. I spent one of them doing the first draft of “Deep River,†her favorite.Later, I decided that if singers engage a cellist for a concert, they might like to program more than one piece for them, so I chose two more water-themed spirituals to complete the set. “His Name So Sweet†is a more meditative version of the song than I’ve generally heard. I wanted the piano, cello, and briefly the voice to imitate the fountain in the text. The mood is ecstasy, resulting from the fundamental change that baptism is meant to create. “Deep River†also includes “Michael Row The Boat Ashore†and “The Water Is Wide.†The latter isn’t a spiritual, however, taken together the message is that the river is deep, the water is wide, but with (the Archangel?) Michael’s help, Jordan can be crossed. “Wade in the Water†is one of the most well-known spirituals. I focus on the idea of escaping enslavement: the opening is quiet, furtive, maybe even nervous. The Moses in the text can be understood to be Harriet Tubman, who might urge escapees to wade in the water so pursuing dogs couldn’t follow their scent. In my mind, the ending symbolizes that the party has vanished, never to be enslaved again.
$12.99 ≈
11.72€
"Wade in the Water" from Crossing Jordan for soprano, cello and piano
"Wade in the Water" from Crossing Jordan for soprano, cello and piano
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Piano, Voix
#
INTERMÉDIAIRE/AVANCÉ
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Spiritual
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Maria Thompson Corley
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"Wade in the Water"
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Maria Thompson Corley
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.1284056 Composed by Spiritual. Arranged by Maria Thompson Corley. 21st Century,Chamber,Sacred,Spiritual,Traditiona...
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Piano,Vocal,Voice - Level 4 - SKU: A0.1284056 Composed by Spiritual. Arranged by Maria Thompson Corley. 21st Century,Chamber,Sacred,Spiritual,Traditional. Score. 8 pages. Maria Thompson Corley #875229. Published by Maria Thompson Corley (A0.1284056). “Crossing Jordan†grew out of my daughter Kiana’s surprise request that I arrange a spiritual for voice, piano and cello for her senior recital. She received a degree in commercial music the year before COVID shut everything down, at a time before climate change made blizzards an anomaly here in Central PA. As a result, snow days still existed. I spent one of them doing the first draft of “Deep River,†her favorite.Later, I decided that if singers engage a cellist for a concert, they might like to program more than one piece for them, so I chose two more water-themed spirituals to complete the set. “His Name So Sweet†is a more meditative version of the song than I’ve generally heard. I wanted the piano, cello, and briefly the voice to imitate the fountain in the text. The mood is ecstasy, resulting from the fundamental change that baptism is meant to create. “Deep River†also includes “Michael Row The Boat Ashore†and “The Water Is Wide.†The latter isn’t a spiritual, however, taken together the message is that the river is deep, the water is wide, but with (the Archangel?) Michael’s help, Jordan can be crossed. “Wade in the Water†is one of the most well-known spirituals. I focus on the idea of escaping enslavement: the opening is quiet, furtive, maybe even nervous. The Moses in the text can be understood to be Harriet Tubman, who might urge escapees to wade in the water so pursuing dogs couldn’t follow their scent. In my mind, the ending symbolizes that the party has vanished, never to be enslaved again.
$12.99 ≈
11.72€
Andy Fitzpatrick - Antoinette Plaza Songbook
Andy Fitzpatrick - Antoinette Plaza Songbook
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Piano, Voix
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INTERMÉDIAIRE
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Andy Fitzpatrick
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Andy Fitzpatrick
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Andy Fitzpatrick - Antoinette
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Aindriu Mac Giolla Padraig
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1022877 Composed by Andy Fitzpatrick. Arranged by Andy Fitzpatrick. Country,Folk,Jazz,Pop,Rock. Score. 47 pages. A...
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Piano,Vocal,Voice - Level 3 - SKU: A0.1022877 Composed by Andy Fitzpatrick. Arranged by Andy Fitzpatrick. Country,Folk,Jazz,Pop,Rock. Score. 47 pages. Aindriu Mac Giolla Padraig #3508685. Published by Aindriu Mac Giolla Padraig (A0.1022877). All 10 songs from the album Antoinette Plaza by Andy Fitzpatrick arranged for piano/vocal/guitar. With vocal melody, lyrics, piano accompaniment, chord names. TitlesShe’s Going Underground • Sleeping Alone at Night • Give Me Back My Old Life • Don’t Make a Fool Out of a Fool • Ain’t Meant for the Morning • A Girl’s Gotta Do What a Girl’s Gotta Do • Antoinette Plaza • It’s Probably Nothing • I Have Met Spring • One Surprise
$12.99 ≈
11.72€
Hallelujah We Adore You! for Baritone-Tenor voice Lead Sheet
Hallelujah We Adore You! for Baritone-Tenor voice Lead Sheet
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Piano, Voix
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DÉBUTANT
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Musique Sacrée
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Cody Weinmann
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Hallelujah We Adore You! for B
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Cody Weinmann
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SheetMusicPlus
Piano,Vocal,Voice - Level 1 - SKU: A0.835119 Composed by Cody Weinmann. Christian,Praise & Worship,Sacred,Spiritual. Score. 4 pages. Cody Weinmann #4737...
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Piano,Vocal,Voice - Level 1 - SKU: A0.835119 Composed by Cody Weinmann. Christian,Praise & Worship,Sacred,Spiritual. Score. 4 pages. Cody Weinmann #4737179. Published by Cody Weinmann (A0.835119). This is a version of my contemporary worship song entitled Hallelujah, We Adore You. It's in the key of A. The vocal is slightly re-arranged for baritone and possibly baritone-tenor singers. This is perfect for contemporary Christian worship bands and general worship. The run time on this is just past three and a half minutes. It is meant to be a simple praise song to our Lord.
$2.99 ≈
2.70€
For Life
For Life
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Piano, Voix
#
INTERMÉDIAIRE/AVANCÉ
#
Andrew Mc Donald
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For Life
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Andrew Mc Donald
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.842272 Composed by Andrew Mc Donald. Christian,Country,Gospel. Score. 8 pages. Andrew Mc Donald (Macka Records) #6...
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Piano,Vocal,Voice - Level 4 - SKU: A0.842272 Composed by Andrew Mc Donald. Christian,Country,Gospel. Score. 8 pages. Andrew Mc Donald (Macka Records) #6333467. Published by Andrew Mc Donald (Macka Records) (A0.842272). For Life is a song about having second thoughts about staying married to your wife. Sometimes it is really hard and we feel like we could do better to have someone else. However God wants us to stay committed to our wedding vows for life 'cause it is meant to be and it is what God wants. .
$4.99 ≈
4.50€
Nocturne for Flugelhorn and Piano
Nocturne for Flugelhorn and Piano
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Trompette, Piano
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INTERMÉDIAIRE
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Mike DeWeese
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Nocturne for Flugelhorn and Pi
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Mike DeWeese
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SheetMusicPlus
Piano,Trumpet - Level 3 - SKU: A0.919560 Composed by Mike DeWeese. Concert,Contemporary. Score and part. 9 pages. Mike DeWeese #3473269. Published by Mi...
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Piano,Trumpet - Level 3 - SKU: A0.919560 Composed by Mike DeWeese. Concert,Contemporary. Score and part. 9 pages. Mike DeWeese #3473269. Published by Mike DeWeese (A0.919560). Originally meant to be a silly, overly sad, tongue-in-cheek piece of music, Nocturne evokes emotions of melancholy, longing, and passion. During the early stages of composing this piece, it became obvious to me that the music was going someplace where comedy didn't feel right. Because of that, I decided to ditch the original instrumentation of kazoo, voice, and piano, and instead went with flugelhorn and piano. Nocturne includes most of everything I love playing as a trumpeter: lyrical melodies, melodies over jazz chords, and a more technical section to show off a little bit. Great for recitals!All of the music was composed in FL Studio, with the flugelhorn part recorded by me and the piano part sequenced using the Pearl Concert Grand sample library from Impact Soundworks. .
$1.99 ≈
1.79€
May The Lord Be With You / Que el Señor esté contigo
May The Lord Be With You / Que el Señor esté contigo
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Piano, Voix et Guitare
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Musique Sacrée
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Shaun Parry
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May The Lord Be With You / Que
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MusicforMillions
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - SKU: A0.935515 Composed by Shaun Parry. Sacred. Score. 1 pages. MusicforMillions #5754989. Published by MusicforMillions (A0....
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Guitar,Piano,Vocal,Voice - SKU: A0.935515 Composed by Shaun Parry. Sacred. Score. 1 pages. MusicforMillions #5754989. Published by MusicforMillions (A0.935515). THIS IS AN ORIGINAL (simple) SONG I WROTE FOR MY MOM AND SISTER To be clear, it is a prayer written in musical form. I guess that makes it a psalm. A few nights ago I was feeling the pain of so many people around the globe who are suffering due to the pandemic. I was inspired to sit down and write an simple song of comfort for them-for us. The very same evening I started writing the song, unbeknownst to me, my sister was being taken to the hospital where she collapsed of heart failure and was life-flighted to the nearest cardiovascular facility.They put her on life support (ECMO and ventilator) to let her heart and lungs rest. Two days later, due to complications with circulation in her leg she had to be rushed into emergency surgery to pull the catheter from the artery leading to her heart. This required taking her off of life support four days earlier than they had planned. We were informed she may not make it. Thanks to thousands of people praying for her, and her own indomitable spirit, she pulled through-but not without more complications.A fever kicked in and lack of circulation in her other leg caused even more concern. Her heart and body were suffering greatly. As we prayed (and thousands of you from around the world prayed with us) I kept massaging and nuancing the exact melody line I wanted, at the same time interweaving various lyrics to intuit what felt right. I wanted this to be a song anyone could sing for their beloved family member or friend who was struggling. Every note, every syllable had to land just right-as if it was meant to be.Through all this my mother was going through her own bit of personal anguish. We were basically waiting for my sister to die. Due to COVID regulations nobody, not even family, could visit her in ICU. My mother bought a plane ticket... just in case. We hoped beyond hope that, If she died, she would not die alone. I wanted to finish this song by Mother's Day to share with my mother and my dear struggling sister who is also a mother of 5. I finished it and sang it through tears on Mother's Day. I have many friends show speak Spanish who are going through very difficult times due to COVID-19 and the subsequent quarantine. The second time through is a carefully crafted Spanish translation. I hope to hear people singing this far and wide with, to and for each other.
$1.99 ≈
1.79€
You Were Meant For Me
You Were Meant For Me
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Piano, Voix
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INTERMÉDIAIRE/AVANCÉ
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Rock
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Jewel
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Javin Tham
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You Were Meant For Me
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Javin Tham
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.781922 By Jewel. By Jewel Murray and Steve Poltz. Arranged by Javin Tham. Pop,Rock. Score. 9 pages. Javin Tham #65...
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Piano,Vocal,Voice - Level 4 - SKU: A0.781922 By Jewel. By Jewel Murray and Steve Poltz. Arranged by Javin Tham. Pop,Rock. Score. 9 pages. Javin Tham #6508347. Published by Javin Tham (A0.781922). Arranged in the original key of E minor at the tempo of 115 bpm.
$4.99 ≈
4.50€
Hail Virgin, Dearest Mary (Duet for Tenor and Bass solo)
Hail Virgin, Dearest Mary (Duet for Tenor and Bass solo)
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Voix duo, Piano
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FACILE
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Christian contemporain
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Musique Sacrée
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Stephen DeCesare
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Hail Virgin, Dearest Mary
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Exultet Music
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SheetMusicPlus
Piano,Voice Duet Bass Voice,Piano,Tenor Voice - Level 2 - SKU: A0.1226183 By Stephen DeCesare. By Stephen DeCesare. Christian,Contemporary,Easter,Praise...
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Piano,Voice Duet Bass Voice,Piano,Tenor Voice - Level 2 - SKU: A0.1226183 By Stephen DeCesare. By Stephen DeCesare. Christian,Contemporary,Easter,Praise & Worship,Sacred. 9 pages. Exultet Music #822211. Published by Exultet Music (A0.1226183). Tender children's hymn that is meant to be sung at the May crowning of the Blessed Virgin Mary statue which is usually done at First Communion. Â Scored as a duet for a Tenor and Bass solo with Piano accompaniment. Â An accompaniment track is also available.
$4.99 ≈
4.50€
Hail Virgin, Dearest Mary (Duet for Soprano and Tenor solo)
Hail Virgin, Dearest Mary (Duet for Soprano and Tenor solo)
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Voix duo, Piano
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FACILE
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Christian contemporain
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Musique Sacrée
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Stephen DeCesare
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Hail Virgin, Dearest Mary
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Exultet Music
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SheetMusicPlus
Piano,Voice Duet Piano,Soprano voice,Tenor Voice - Level 2 - SKU: A0.1226181 By Stephen DeCesare. By Stephen DeCesare. Christian,Contemporary,Easter,Pra...
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Piano,Voice Duet Piano,Soprano voice,Tenor Voice - Level 2 - SKU: A0.1226181 By Stephen DeCesare. By Stephen DeCesare. Christian,Contemporary,Easter,Praise & Worship,Sacred. 9 pages. Exultet Music #822209. Published by Exultet Music (A0.1226181). Tender children's hymn that is meant to be sung at the May crowning of the Blessed Virgin Mary statue which is usually done at First Communion. Â Scored as a duet for a Soprano and Tenor solo with Piano accompaniment. Â An accompaniment track is also available.
$4.99 ≈
4.50€
Hail Virgin, Dearest Mary (Duet for Soprano and Alto solo)
Hail Virgin, Dearest Mary (Duet for Soprano and Alto solo)
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Voix duo, Piano
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FACILE
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Christian contemporain
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Musique Sacrée
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Stephen DeCesare
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Hail Virgin, Dearest Mary
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Exultet Music
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SheetMusicPlus
Piano,Voice Duet Alto Voice,Piano,Soprano voice - Level 2 - SKU: A0.1226179 By Stephen DeCesare. By Stephen DeCesare. Christian,Contemporary,Easter,Prai...
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Piano,Voice Duet Alto Voice,Piano,Soprano voice - Level 2 - SKU: A0.1226179 By Stephen DeCesare. By Stephen DeCesare. Christian,Contemporary,Easter,Praise & Worship,Sacred. 9 pages. Exultet Music #822207. Published by Exultet Music (A0.1226179). Tender children's hymn that is meant to be sung at the May crowning of the Blessed Virgin Mary statue which is usually done at First Communion. Â Scored as a duet for a Soprano and an Alto solo with Piano accompaniment. Â An accompaniment track is also available.
$4.99 ≈
4.50€
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Meant for piano and voice
