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Vous avez sélectionné:
Not Too Late
Partitions à imprimer
581 partitions trouvées
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It's Not Too Late
It's Not Too Late
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Chorale SATB
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INTERMÉDIAIRE
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Phil Collins
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Kirstie Smith
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It's Not Too Late
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Kirstie Smith
#
SheetMusicPlus
Choral Choir,Choral,SATB Chorus divisi - Level 3 - SKU: A0.1459262 Composed by Phil Collins. Arranged by Kirstie Smith. 21st Century,Pop,Rock,Soul,Spiri...
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Choral Choir,Choral,SATB Chorus divisi - Level 3 - SKU: A0.1459262 Composed by Phil Collins. Arranged by Kirstie Smith. 21st Century,Pop,Rock,Soul,Spiritual. 7 pages. Kirstie Smith #1038202. Published by Kirstie Smith (A0.1459262). A carefully crafted choral ensemble arrangement of Phil Collins' stunning song 'It's Not Too Late' from his album Testify (2002). Although one of his lesser known hits, this is a hidden gem from the master of songwriting. Inspired by his live 'First Farewell Tour' (2004) performance, this arrangement has been lovingly scored to feature the beautifully rich harmonies, expressive melodic lines and emotive lyrics that Phil Collins is reknowned for. One can't improve upon perfection, so this arrangement is as true to the maestro's intentions as possible, in SATB divisi format.
$3.50 ≈
3.15€
If Not Now, When?
If Not Now, When?
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Contemporain
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Chris Gordon
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If Not Now, When?
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Cool Wind Music Digital
#
SheetMusicPlus
Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - SKU: A0.841258 Composed by Chris Gordon. 20th Century. Score and parts. 39 pa...
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Large Ensemble Cello,Clarinet,Flute,Piano,Piccolo,Viola,Violin - Level 3 - SKU: A0.841258 Composed by Chris Gordon. 20th Century. Score and parts. 39 pages. Cool Wind Music Digital #3056419. Published by Cool Wind Music Digital (A0.841258). Full set of parts: Please contact Chris Gordon at the email address on the first page of music for details.IF NOT NOW, WHEN? If Not Now, When? gets its title from the novel by Primo Levi, the Italian author who both survived life in Auschwitz and fought the continued German military presence in Italy with the Resistance after the Italian surrender to the Allies in September 1943. Levi meant that revolution and the overthrow of tyranny should never be 'put off until tomorrow'. If you believe you are on the side of right, then 'seize the day'- tomorrow may be too late. The inspiration for INNW? grew from research I was doing into an early song by Alban Berg called An Leukon which Berg wrote in 1907 while a student of Arnold Schoenberg. In delving into the kind of world which Berg inhabited in the Vienna of 100 years ago, I was fascinated by the café culture* which played a pivotal role in the lives of most artists: not only composers, but also writers, painters, architects and journalists. They swirled around the fashionable 'watering holes' sucking up current thoughts and ideas, high on Viennese coffee, cigar smoke and idealism! I envisaged a play which tried to encapsulate all this and wrote a few scenes with characters such as Schoenberg, Berg, Webern, Steuermann, Pisk, Kraus, Gropius and Altenberg heatedly discussing music, art and poetry over large cups of milky coffee. This grew into the framework for INNW? which, to paraphrase Pirandello's play about characters seeking an author, is a 'play without words in several scenes'. The piece is organised into 8 short movements or 'scenes' showing the 'Schoenberg cirle' sharing their radical and daring ideas and the shock or delight (or both simultaneously) with which those ideas are greeted. The first, which happens to be the longest, is rooted in conventional tonality. It begins with a fanfare in D flat major ('aux armes, citoyens!'), then seeks a 'freer' tonality by means of the 'emancipation of the semitone' only to capitulate in the central section and, finally, to 'fall back to earth' by winding down in G sharp minor. These 'scenes' are not meant to represent particular composers. They are, however, meant to represent the kinds of directions in which music could progress, given the 'breakdown' or 'stretching to its limits' of traditional harmony which had occurred in the previous 10 to 20 years. So many ways forward were promulgated, with one after another extraordinary, and often unexpected, futuristic musical panoramas glimpsed momentarily. My aim is to demonstrate which directions they decided they could head in having cleared the 'overgrown' path before them. * I even discovered that, around this time, in the Café Central, a certain Leon (Lev) Bronstein, otherwise known as Leon Trotsky, banished by the Okhrana (Imperial secrect police) from his native Russia, would spend all day in a back room playing chess. How delicious, I thought, if Schoenberg had ever brushed passed Trotsky or, indeed, had ever spoken to him: the one planning political and the other musical revolution!
$25.00 ≈
22.52€
Blue Art, Too
Blue Art, Too
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Guitare notes et tablatures
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Contemporain
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Tal Farlow
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Tal Farlow
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Blue Art, Too
#
Vladimir Polyakov
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SheetMusicPlus
Guitar - SKU: A0.1015749 By Tal Farlow. By Tal Farlow. Arranged by Tal Farlow. Contemporary. Guitar Tab. 10 pages. Vladimir Polyakov #4888955. Published...
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Guitar - SKU: A0.1015749 By Tal Farlow. By Tal Farlow. Arranged by Tal Farlow. Contemporary. Guitar Tab. 10 pages. Vladimir Polyakov #4888955. Published by Vladimir Polyakov (A0.1015749). Sheets music of the composition Yardbird Suite, as it is played by Tal Farlow. The PDF includes sheet music and tab for guitar. It consist of theme and 3 choruses of guitar improvisation. GP5 file is also related.
$4.99 ≈
4.49€
Love Not Hate!
Love Not Hate!
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Piano, Voix
#
INTERMÉDIAIRE/AVANCÉ
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Andrew Mc Donald
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Love Not Hate!
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Andrew Mc Donald
#
SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.842149 Composed by Andrew Mc Donald. Christian,Gospel,R & B. Score. 6 pages. Andrew Mc Donald (Macka Records) #496...
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Piano,Vocal,Voice - Level 4 - SKU: A0.842149 Composed by Andrew Mc Donald. Christian,Gospel,R & B. Score. 6 pages. Andrew Mc Donald (Macka Records) #4967181. Published by Andrew Mc Donald (Macka Records) (A0.842149). Love Not Hate is a song about showing our brother that we love him. We need more than ever now to love one another before it's too late. a kind word to someone may be the only one they have ever heard. This is partly designed to be a rap song.
$4.99 ≈
4.49€
Chorale St. Antoni - Proto-Notation Beginner Arrangement w/ Teacher Duet (2P4H or 1P4H)
Chorale St. Antoni - Proto-Notation Beginner Arrangement w/ Teacher Duet (2P4H or 1P4H)
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Piano Facile
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DÉBUTANT
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Classique
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Franz Joseph Haydn
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Nicole Elyse DiPaolo
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Chorale St. Antoni - Proto-Not
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Nicole Elyse DiPaolo
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - Level 1 - SKU: A0.799608 Composed by Franz Joseph Haydn. Arranged by Nicole Elyse DiPaolo. Classical,Romanti...
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Instrumental Duet Instrumental Duet,Piano - Level 1 - SKU: A0.799608 Composed by Franz Joseph Haydn. Arranged by Nicole Elyse DiPaolo. Classical,Romantic Period,Standards. Score and parts. 5 pages. Nicole Elyse DiPaolo #4611217. Published by Nicole Elyse DiPaolo (A0.799608). This theme is originally attributed to Franz Joseph Haydn, who included it as the slow movement of his Divertimento for Winds in Bb, Hob.II:46. However, it's uncertain whether he actually wrote the theme or took it from another source (like a hymn tune, which the St. Anthony name would suggest, or a folksong). Several decades later, Johannes Brahms ran across Haydn's Divertimento, liked the theme, and used it in his Variations on a Theme by Haydn, now the most famous setting of this theme. Carl Czerny also used it for a variation set. Specifically arranged for the early-stage piano student who is just beginning to play hands together, and for teachers who don't wish to prolong the hands alone stage, this unique adaptation keeps the hands in rhythmic unison and symmetrical contrary motion, optimizing ease of playing when first beginning to engage the both hands motor area of the brain. Throughout the piece, the student uses the same finger at the same time in both hands, and the fingers are matched to both-white or both-black keys, respectively. Strongly auditory and kinesthetic learners who don't require visual feedback may successfully learn this piece via rote instruction, too. This arrangement has also been designed so that it can work in both 2-piano 4-hands and 1-piano 4-hands settings.Additionally, the transposition to G-flat major (from B-flat) allows the student to take advantage of the black keys' inherent posture- and accuracy-enhancing qualities, which are vital in those early lessons when correct technique habits need to be installed. Finally, particularly for the adult student who's keen to dive into the classical repertoire: this is a genuine, well-known piece of music treated by multiple famous composers from the common practice era. Even finicky audience members will enjoy this piece, which will not sound like something a first-year piano student might play: some of the world's most elite orchestras have also recorded this work in Brahms's arrangement. Given that the tune is potentially a bit long for a beginner student, I've placed a double bar after m. 10, noting that if necessary, a student could excerpt mm. 1-10 and perform these without the middle section and return of A. I have not reproduced Haydn's original(?) repeats, but the student and teacher could add them if desired. The PDF, when purchased, will include both the student part (half of which is pictured) and a full score in standard notation for the teacher.
$3.99 ≈
3.59€
When You Say Nothing At All
When You Say Nothing At All
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Keith Whitley
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Derek Hasted
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When You Say Nothing At All
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Derek Hasted
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SheetMusicPlus
Guitar Ensemble Guitar - Level 3 - SKU: A0.797826 By Keith Whitley. By Don Schlitz and Paul Overstreet. Arranged by Derek Hasted. Contemporary,Pop. Scor...
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Guitar Ensemble Guitar - Level 3 - SKU: A0.797826 By Keith Whitley. By Don Schlitz and Paul Overstreet. Arranged by Derek Hasted. Contemporary,Pop. Score and parts. 20 pages. Derek Hasted #6414637. Published by Derek Hasted (A0.797826). WHEN YOU SAY NOTHING AT ALL - GUITAR TRIO with OPTIONAL BASS PARTFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar. Derek Hasted writes This lovely melody, first made famous by Alison Krauss, and more recently by Ronan Keating, makes a delightful concert piece for guitars.My arrangement is based on Ronan Keating’s version, where the distinctive guitar accompaniment is a little different to Alison’s original. The music doesn’t have the slow fade-out of Keating’s piece - it’s not that easy for a guitar ensemble on stage to emulate that! Besides - the fade-out in Keating’s version is lots of repeated notes sung with different syllables - on the guitar it loses any sense of variety.But this arrangement does have all the rest of the thematic material, including the strange but seldom noticed fact that verse two is one measure shorter than verse one. A lot of the vocal countermelodies are here too.The optional fourth part is suitable for novice guitar, for bass or acoustic guitar or for pizzicato double bass, and is included in both treble and bass clefs. But this arrangement works fine with just three guitars too...The key is the same as Keating’s version and includes the rather lovely key changes - both seem to go up slightly in pitch, yet the second key change actually returns back to the starting key.I hope you enjoy performing this!
$4.99 ≈
4.49€
Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
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Giovvanni Gabrieli
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James M
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3 tubas
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
#
SheetMusicPlus
Level 3 - SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. P...
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Level 3 - SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. Published by jmsgu3 (A0.549196). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 3 trombones, 3 euphoniums & 3 tubas. Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
43.19€
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
#
SheetMusicPlus
Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renais...
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Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3458615. Published by jmsgu3 (A0.549199). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 4 oboes, 2 English horns, 2 bassoons, 1 contrabassoon (or 3 bassoons). Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com
$47.95 ≈
43.19€
It's Too Late
It's Too Late
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Basse electrique
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INTERMÉDIAIRE
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Carole King
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Jared Plane
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It's Too Late
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Jared Plane
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SheetMusicPlus
Bass Guitar TAB - Level 3 - SKU: A0.1446663 By Carole King. By Carole King and Toni Stern. Arranged by Jared Plane. Pop,Rock,Singer/Songwriter. Score. 4...
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Bass Guitar TAB - Level 3 - SKU: A0.1446663 By Carole King. By Carole King and Toni Stern. Arranged by Jared Plane. Pop,Rock,Singer/Songwriter. Score. 4 pages. Jared Plane #1026427. Published by Jared Plane (A0.1446663). Charles Larkey's original bass line as played on the Carole King classic, It's Too Late from the album, Tapestry featured in the Musical, Beautiful. This transcription comes with Standard Notation, bass TABs and chord symbols.
$5.00 ≈
4.50€
Love That Comes Too Late
Love That Comes Too Late
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Piano, Voix
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INTERMÉDIAIRE
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Doug Howell
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Love That Comes Too Late
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Creative Measures
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.896309 Composed by Doug Howell. Christian,Pop. Score. 4 pages. Creative Measures #3570077. Published by Creative M...
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Piano,Vocal,Voice - Level 3 - SKU: A0.896309 Composed by Doug Howell. Christian,Pop. Score. 4 pages. Creative Measures #3570077. Published by Creative Measures (A0.896309). Track 6 from Doug Howell's first solo album, Bluer Than It's Ever Been. For track lyrics and details, see https://creativemeasures.com/music/songs/love-that-comes-too-late/. For album details and notes, see http://creativemeasures.com/album/bluer-than-its-ever-been/.
$1.99 ≈
1.79€
It's Too Late
It's Too Late
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Piano grosses notes
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DÉBUTANT
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Carole King
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It's Too Late
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Hal Leonard - Digital
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SheetMusicPlus
SKU: HX.456364 By Carole King. Jazz,Pop,Rock. E-Z Play Today. 2 pages. Published by Hal Leonard - Digital (HX.456364). About H...
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SKU: HX.456364 By Carole King. Jazz,Pop,Rock. E-Z Play Today. 2 pages. Published by Hal Leonard - Digital (HX.456364). About Hal Leonard E-Z Play TodayFor organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar.
$2.99 ≈
2.69€
Never Too Late (from The Lion King 2019)
Never Too Late (from The Lion King 2019)
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Piano grosses notes
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DÉBUTANT
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Film Walt Disney
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Elton John
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Never Too Late
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Hal Leonard - Digital
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SheetMusicPlus
SKU: HX.446433 By Elton John. By Elton John and Tim Rice. Disney,Film/TV. E-Z Play Today. 7 pages. Published by Hal Leonard - Digital (HX.446433).
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SKU: HX.446433 By Elton John. By Elton John and Tim Rice. Disney,Film/TV. E-Z Play Today. 7 pages. Published by Hal Leonard - Digital (HX.446433). About Hal Leonard E-Z Play TodayFor organs, pianos, and electronic keyboards. E-Z Play Today is the shortest distance between beginning music and playing fun. Now there are more than 300 reasons why you should play E-Z Play Today. * World's largest series of music folios * Full-size books - large 9 x 12 format features easy-to-read, easy-to-play music * Accurate arrangements... simple enough for the beginner, but accurate chords and melody lines are maintained * Eye-catching, full-color covers * Lyrics... most arrangements include words and music * Most up-to-date registrations - books in the series contain a general registration guide, as well as individual song rhythm suggestions * Guitar Chord Chart - all songs in the series can also be played on guitar.
$2.99 ≈
2.69€
Too Little Too Late
Too Little Too Late
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Guitare notes et tablatures
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Hoobastank
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Too Little Too Late
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Guitar TAB - SKU: AX.00-PS-0005190 By Hoobastank. By Daniel Estrin and Douglas Robb. Pop/Rock. 7 pages. Alfred Music - Digital Sheet Music #00-PS-000519...
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Guitar TAB - SKU: AX.00-PS-0005190 By Hoobastank. By Daniel Estrin and Douglas Robb. Pop/Rock. 7 pages. Alfred Music - Digital Sheet Music #00-PS-0005190. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0005190).
$2.99 ≈
2.69€
Gabrieli: Jubilate Deo Ch. 136 for Concert Band
Gabrieli: Jubilate Deo Ch. 136 for Concert Band
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Orchestre d'harmonie
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FACILE
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
#
SheetMusicPlus
Concert Band - Level 2 - SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #345...
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Concert Band - Level 2 - SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #3458689. Published by jmsgu3 (A0.549200). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: small concert band, no percussion. Here is a stunningly beautiful example of Renaissance polyphony and a mesmerizing fast-paced recital number. Program this initially to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not tricky, but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was the first to indicate them, such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes there was probably a third group near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance. First Works Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Gabrieli’s later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
43.19€
Never Too Late (from The Lion King 2019)
Never Too Late (from The Lion King 2019)
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Piano Facile
#
Film Walt Disney
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Elton John
#
Never Too Late
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Hal Leonard - Digital
#
SheetMusicPlus
Interactive Download SKU: HX.446946 By Elton John. This edition: Interactive Download. Disney,Film/TV. Big Note Piano. 8 pages. Published by Hal Leonard ...
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Interactive Download SKU: HX.446946 By Elton John. This edition: Interactive Download. Disney,Film/TV. Big Note Piano. 8 pages. Published by Hal Leonard - Digital (HX.446946).
$3.99 ≈
3.59€
Seeds to Grow On Too!
Seeds to Grow On Too!
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Chorale 2 parties
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Ruth Elaine Schram
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Other Church
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Seeds to Grow On Too!
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Jubilate Music Group - Digital
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SheetMusicPlus
Choir Sacred (2-Part choir) - SKU: JX.00-BSB02001 12 More Seasonal Songs for Young Singers. Composed by Ruth Elaine Schram. Christian Elementary ...
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Choir Sacred (2-Part choir) - SKU: JX.00-BSB02001 12 More Seasonal Songs for Young Singers. Composed by Ruth Elaine Schram. Christian Elementary Collection; Other Church; Performance Music Ensemble; Worship Resources. Children; Sacred. Book. 97 pages. Jubilate Music Group - Digital #00-BSB02001. Published by Jubilate Music Group - Digital (JX.00-BSB02001). English.Following the success of her first collection, Seeds to Grown on Too, Ruth Elaine Schram has created another book of praise for God's young singers. As with the first book, this compilation is again set in order of the church year, with anthems for Advent, Christmas, Epiphany, Lent, Palm Sunday, Easter, Baptism, Mother's Day or Father's Day (Parent Appreciation Sunday), and four general anthems to round out the season. These 12 new additions are as much fun as the original set and will spread joy in your choir room as well as to the congregation. Contains: I'M GONNA SING MY PRAISE (General) * SIMPLE GIFTS (General) * FOR EVERYTHING, A SEASON (General) * COME TO EARTH, O TINY KING (Advent) * MARY HAD A BABY BOY! (Christmas) * BY CANDLELIGHT (Christmas/Epiphany) * GOD LOVED US SO MUCH (Lent/General) * WE'RE LEADING THE WAY FOR THE KING OF KINGS (Palm Sunday) * JESUS IS RISEN! (Easter) * WILL YOU PRAY FOR ME? * (Baptism/Dedication/General) * WE JUST WANT TO SAY THANKS! (Parent Appreciation Sunday/Mother's Day/Father's Day) * DON'T WORRY ABOUT TOMORROW (General).
$8.99 ≈
8.10€
It's Too Late
It's Too Late
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Guitare notes et tablatures
#
Carole King
#
It's Too Late
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Hal Leonard - Digital
#
SheetMusicPlus
SKU: HX.476145 By Carole King. Edited by Charles Duncan. Jazz,Pop,Rock. Solo Guitar. 2 pages. Published by Hal Leonard - Digital (HX.476145). ...
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SKU: HX.476145 By Carole King. Edited by Charles Duncan. Jazz,Pop,Rock. Solo Guitar. 2 pages. Published by Hal Leonard - Digital (HX.476145).
$4.99 ≈
4.49€
It's Never Too Late
It's Never Too Late
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Guitare notes et tablatures
#
Tommy Emmanuel
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It's Never Too Late
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Hal Leonard - Digital
#
SheetMusicPlus
SKU: HX.390116 By Tommy Emmanuel. Jazz,Pop. Guitar TAB. 7 pages. Published by Hal Leonard - Digital (HX.390116). ...
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SKU: HX.390116 By Tommy Emmanuel. Jazz,Pop. Guitar TAB. 7 pages. Published by Hal Leonard - Digital (HX.390116).
$4.99 ≈
4.49€
It's Too Late (arr. Kent Nishimura)
It's Too Late (arr. Kent Nishimura)
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Guitare notes et tablatures
#
Rock
#
Carole King
#
Kent Nishimura
#
It's Too Late
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Hal Leonard
#
SheetMusicPlus
By Carole King. Arranged by Kent Nishimura. This edition: scorch. Jazz, Pop, Rock. Individual part. 7 pages. Published by Hal Leonard ...
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By Carole King. Arranged by Kent Nishimura. This edition: scorch. Jazz, Pop, Rock. Individual part. 7 pages. Published by Hal Leonard
$4.99 ≈
4.49€
Toot, Toot, Tootsie!
Toot, Toot, Tootsie!
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
#
Gus Kahn, Ernie Erdman and Dan
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F
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Toot, Toot, Tootsie!
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Sweetwater Brass Press
#
SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1251231 Composed by Gus Kahn, Ernie Erdman and Dan Russo. Arranged by F. Leslie Smith. 20th...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1251231 Composed by Gus Kahn, Ernie Erdman and Dan Russo. Arranged by F. Leslie Smith. 20th Century,Comedy,Pop,Standards,Traditional. 37 pages. Sweetwater Brass Press #845507. Published by Sweetwater Brass Press (A0.1251231). This song starts with the narrator/lyricist saying that he overheard a guy at the train station trying to say farewell to his girl.  The guy would kiss her, bid her adieu, get on the train, then get off and do the whole thing over again.  And, he did this seven times!  What would he say to her each time?  He’d tell her that he’s leaving, that she shouldn’t cry, that he’ll write and that if she does not hear from him she should assume he’s been arrested.  What a romantic line!   Anyway, that’s the gist of the “Toot, Toot, Tootsie!†lyrics.  Credited to Gus Kahn, Ernie Erdman and Dan Russo, New York City’s Leo Feist, Inc. first published this upbeat, leave-taking song in 1922.  It had been one of 29 numbers featured in the 1921 Broadway production Bombo, a vehicle designed to showcase the talent of Al Jolson.  Six years later Jolson sang it in The Jazz Singer, generally recognized as the first sound feature film.  Additionally, all three composers, plus Ted Fio Rito and Eddie Cantor, also made early and very popular recordings.  This bubbly, cheerful arrangement opens in the key of F major with a suggested tempo of 120 BPM.  After an 8-measure introduction, the piece goes right to the familiar chorus with Trumpet 1 and Trombone switching leads and ending with a wonderful Fillmore-style smear.  The tempo then slows dramatically for a somewhat pensive interpretation of the verse, the narrator’s observations, Horn and Trumpet 1 alternating the lead.  At measure 67 the chorus repeats faster than ever, a recommended 132 BPM, as Trombone and the two Trumpets take turns with the melody.  This leads right into a repeat of the verse—this time played at full speed—and a change of key to D-flat major.  Trombone and Tuba play in unison, exchanging the melody with Trumpets, right on into the third go-round of the chorus.  The piece wraps up with a vaudeville-style conclusion and eventually fades away.  (But don’t miss Trombone's four-measure reference to “Charlottetown Is Burning Down/Goodbye, Liza Jane†at measure 141.)Lots of fun!  Completed in 2023, performance time at the suggested tempo runs about 2 minutes, 47 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge.  He would like to receive your suggestions, comments, corrections and criticisms.  For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.
$6.99 ≈
6.30€
We Three Kings – Late Beginner/Elementary Christmas Piano Sheet Music Solo
We Three Kings – Late Beginner/Elementary Christmas Piano Solo
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Piano Facile
#
DÉBUTANT
#
Noël
#
John Henry Hopkins Jr
#
Amanda Tero
#
We Three Kings – Late Be
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Amanda Tero
#
SheetMusicPlus
Piano Solo - Level 1 - SKU: A0.1097079 Composed by John Henry Hopkins Jr. Arranged by Amanda Tero. Christian,Christmas,Holiday,Sacred,Traditional. Score...
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Piano Solo - Level 1 - SKU: A0.1097079 Composed by John Henry Hopkins Jr. Arranged by Amanda Tero. Christian,Christmas,Holiday,Sacred,Traditional. Score. 4 pages. Amanda Tero #701044. Published by Amanda Tero (A0.1097079). This late beginner/elementary sheet music of We Three Kings takes the student along a journey of melodic interest in D minor. Musical elements in We Three Kings late beginner piano sheet music - Key of D minor - Left hand intervals (harmonic and melodic) - Right hand melody with occasional secondary notes - Basic rhythm (dotted half notes, half notes, quarter notes, eighth notes) - A melodic introduction - Finger numbers - A few ledger lines Teaching tips for We Three Kings sheet music Students love the chorus, where both the right hand and left hand play intervals together. However, some students get too eager and rush through this part. This will lead to a great discussion where fast is not always the solution to exciting parts. #wethreekings #christmaspiano #beginnerpiano #sheetmusic.
$3.99 ≈
3.59€
Why Don't You Do Right (get Me Some Money, Too!)
Why Don't You Do Right (get Me Some Money, Too!)
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Chorale SATB
#
INTERMÉDIAIRE/AVANCÉ
#
Peggy Lee
#
Michael Thomas Coull
#
Why Don't You Do Right
#
MTC Publishing
#
SheetMusicPlus
Choral Choir,Choral (SATB) - Level 4 - SKU: A0.1267134 By Peggy Lee. By Joe McCoy. Arranged by Michael Thomas Coull. 20th Century,Blues,Contemporary,Jaz...
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Choral Choir,Choral (SATB) - Level 4 - SKU: A0.1267134 By Peggy Lee. By Joe McCoy. Arranged by Michael Thomas Coull. 20th Century,Blues,Contemporary,Jazz,Standards. 10 pages. MTC Publishing #859768. Published by MTC Publishing (A0.1267134). Why Don't You Do Right (Get Me Some Money, Too) - Choral Arrangement for SATB and Piano arranged by Michael Thomas CoullWhy Don't You Do Right (Get Me Some Money Too!) was originally recorded as Weed Smoker's Dream and is an American blues and jazz-influenced pop song written by ‘Kansas Joe’ McCoy and Herb Morand in 1936.  Both men are given composer credits on the original 78 record label, although Morand’s name is misspelled. In 1936, the Harlem Hamfats recorded the Weed Smoker’s Dream.  Band member Joe McCoy later rewrote the song, refining both the composition and lyrics.  The new tune, titled Why Don't You Do Right (Get Me Some Money Too!), was recorded by Lil Green in 1941, with guitar by William ‘Big Bill’ Broonzy.  The minor key twelve-bar blues song, with a few chord substitutions, proved popular and quickly became a jazz standard. With its roots in blues music, the song originally dealt with a marijuana smoker reminiscing about lost financial opportunities.  After it was rewritten, it took on the perspective of the female partner, chastising her man for his irresponsible ways:  ‘Why don't you do right, like some other men do? Get out of here and get me some money too!’A wonderful bluesy arrangement for full SATB choir with piano accompaniment, not just fun for the choir to sing, but also one the audience will really enjoy too.
$3.99 ≈
3.59€
MAYBE (It Is or Is Not…)
MAYBE (It Is or Is Not…)
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Jazz combo
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INTERMÉDIAIRE/AVANCÉ
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Christopher Burnett
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Christopher Burnett
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MAYBE
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Christopher Burnett
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SheetMusicPlus
Jazz Combo - Level 4 - SKU: A0.1201507 By Christopher Burnett. By Christopher Burnett. Arranged by Christopher Burnett. Contemporary,Film/TV,Jazz. Score...
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Jazz Combo - Level 4 - SKU: A0.1201507 By Christopher Burnett. By Christopher Burnett. Arranged by Christopher Burnett. Contemporary,Film/TV,Jazz. Score and parts. 3 pages. Christopher Burnett #800128. Published by Christopher Burnett (A0.1201507). ORIGINAL MUSIC FOR JAZZ QUARTET This work is from series of 6 related pieces of new music that I have composed and arranged for a new Originals quartet that had its debut on Tuesday March 28 as the final concert of the 2023 season of the long running noontime spring jazz series at the Midwest Trust Center in the Kansas City metropolitan area. The music is written and arranged for a modern jazz quartet. I perform on alto saxophone with the multi-talented William Crain on piano, the master bassist Gerald Spaits, and the brilliant young drummer Morgan Rogers. The mockup audio demos posted are among the first set of compositions written for our group. I actually wrote and arranged all of this music with each of these quartet musicians’ artistry in mind and to record an album. However, I truly welcome other ensembles to perform and program these selections of music too.THIS MUSIC IS BASED UPON THE PHILOSOPHY OF ABUNDANCE (COVEY)Scarcity Mentality is the zero-sum paradigm of life. People with a Scarcity Mentality have a very difficult time sharing recognition and credit, power or profit – even with those who help in the production. They also have a very hard time being genuinely happy for the successes of other people – even, and sometimes especially, members of their own family or close friends and associates. Conversely, Abundance Mentality flows out of a deep inner sense of personal worth and security. It is the paradigm that there is plenty out there and enough to spare for everybody. It results in sharing of prestige, of recognition, of profits, of decision making. It opens possibilities, options, alternatives, and creativity.THE MUSICAL SELECTIONS (F-A-M-I-L-Y)All of these six pieces interact musically as one larger work or they can be performed independently from the collection with equally pleasing effects musically.1. “FINALLY†(Is Never Permanent…) Composed and Arranged By Christopher Burnett (BMI)2. “ALWAYS†(Is Never Giving Up…)Composed and Arranged By Christopher Burnett (BMI)3. “MAYBE†(It Is or Is Not…)Composed and Arranged By Christopher Burnett (BMI)4. “INFINITY†(Is The Reality…)Composed and Arranged By Christopher Burnett (BMI)5. “LATER†(Is Better Than Never…)Composed and Arranged By Christopher Burnett (BMI)6. “YESTERYEARS†(Bring Our Todays…)Composed and Arranged By Christopher Burnett (BMI)Thanks,Christopher Burnett (BMI)musician, composer, educatorhttps://BurnettPublishing.com.
$25.00 ≈
22.52€
The Chocolate Fayre
The Chocolate Fayre
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Ragtime
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Jazz
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Mel Stallwood
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The Chocolate Fayre
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Mel Stallwood
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.903595 Composed by Mel Stallwood. Jazz,Ragtime. Score. 5 pages. Mel Stallwood #3549737. Published by Mel Stallwood (A0.90...
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Piano Solo - Level 4 - SKU: A0.903595 Composed by Mel Stallwood. Jazz,Ragtime. Score. 5 pages. Mel Stallwood #3549737. Published by Mel Stallwood (A0.903595). A delightful noveltypiano/ragtime style piece ideal for piano recital.My wife kindly bought me a present box of lovely hand-made chocolates from the ‘Chocolate Fayre’ a local shop. I soon became addicted and another box arrived after a month. Well I had a migraine for 3 days and assumed I was doing too much computer work. I had a break and wrote a few tunes (including this one) but still had a bad head. Yes, I eventually figured it was the Chocs…. Can’t stop eating them though… Should be called Chocolate Unfayre… The Chocolate Fayre is a NoveltyPiano/Ragtime piece in celebration of carnal fleshly desires…
$3.99 ≈
3.59€
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Not Too Late
