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Once More I Can See
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Vous avez sélectionné:
Once More I Can See
Partitions à imprimer
343 partitions trouvées
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Once More I Can See
Once More I Can See
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Chorale TTBB
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INTERMÉDIAIRE
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Frank Wildhorn and Jack Murphy
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Theodore Hicks
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Once More I Can See
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Theo Hicks Music
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SheetMusicPlus
Choral Choir,Choral (TTBB) - Level 3 - SKU: A0.1361336 Composed by Frank Wildhorn and Jack Murphy. Arranged by Theodore Hicks. A Cappella,Barbershop,Bro...
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Choral Choir,Choral (TTBB) - Level 3 - SKU: A0.1361336 Composed by Frank Wildhorn and Jack Murphy. Arranged by Theodore Hicks. A Cappella,Barbershop,Broadway,Musical/Show,Pop. 6 pages. Theo Hicks Music #945802. Published by Theo Hicks Music (A0.1361336). For more information about my arrangements, visit my website HERE.
$4.00 ≈
3.66€
Rhapsody for Concert Band
Rhapsody for Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Classique
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July 16th, Clara noted in her
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Brock Lupton
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Rhapsody for Concert Band
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Brock Lupton
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.942434 Arranged by Brock Lupton. Romantic Period. Score and parts. 84 pages. Brock Lupton #6879051. Published by Brock ...
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Concert Band - Level 4 - SKU: A0.942434 Arranged by Brock Lupton. Romantic Period. Score and parts. 84 pages. Brock Lupton #6879051. Published by Brock Lupton (A0.942434). Brahms composed the Alto Rhapsody, properly known as Rhapsody for Alto, Male Chorus, and Orchestra, opus 53 in 1869. It was first performed in Jena on March 3, 1870. The text is based on Harzreise im Winter (Winter Journey in the Harz Mountains), a poem by well-known German poet Johann Wolfgang von Goethe (1749-1832). The Alto Rhapsody, like many of Brahms’ works, has loneliness and alienation as its central themes. Brahms’ devotion to Clara Schumann, Robert Schumann’s widow, is well-known (the letters between her and Brahms fill two volumes). What is less well-known is that he was undoubtedly very fond of Julie Schumann, Clara’s daughter.In 1869, Brahms spent the summer near the Schumann’s residence and was in daily contact with Julie and Clara completing, among other works, the Liebeslieder (Love Song) Waltzes. In early July, Julie announced her engagement. Of course, I told Johannes first of all, Clara noted in her diary on the 11th. Soon after, the conductor Hermann Levi told her that Brahms had been devotedly attached to her daughter. By July 16th, Clara noted in her diary that Brahms speaks only in monosyllables . . . [and] treats Julie in the same manner, although he used to be so especially nice to her. Did he love her? Julie was married on September 22. Later on that very wedding day, Brahms called on Clara, who wrote in her diary, Johannes brought me a very wonderful piece . . . the words from Goethe’s Harzreise. . . He called it his bridal song. This piece seems to me neither more nor less than the expression of his own heart’s anguish. If only he would for once speak so tenderly! This piece is of course the dark and emotional Alto Rhapsody. Goethe’s poem Harzreise im Winter poetically describes the kind of life God intends for different temperaments. The three stanzas set by Brahms concern the fate of a man in fruitless struggle against the bonds of misery. A young man, turned misanthropic by sorrow, seeks solitude in the wilderness. The piece is in the baroque cantata style, with an opening recitative, and aria, and a concluding chorale. The alto describes the desolate winter landscape and in the final chorale joins the male chorus in a prayer for a melody that can bring comfort to the thirsting soul (indeed the plea restore his heart is repeated three times at the end, as a kind of Amen). In the Alto Rhapsody it is not hard to find evidence for Brahms’ statement that I speak through my music. The foregoing is from a program note written for a 1997 New York Choral Society performance of the Alto Rhapsody in observance of the centenary of the death of Johannes Brahms. It has been taken from the society web page http://www.nychoral.org/brahms/brahms3.htmlAn English translation of the German text used by Brahms SOLOBut down there, who is it?His path loses itself in the bush. Behind him the branches close. The grass stands up again. Desolation surrounds him. O, who heals the wounds of the one to whom balm has become poison, who drank hatred of people from the fullness of love? Once despised, now a despiser. Secretly he destroys himself in unsatisfying self-seeking. CHORUS If there is in your psaltery, Father of Love, a tone his ear can hear, let it enliven his heart. .
$20.00 ≈
18.30€
Concerto for Concert Band (2011) full score
Concerto for Concert Band (2011) full score
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Orchestre d'harmonie
#
INTERMÉDIAIRE/AVANCÉ
#
Thomas Oboe Lee
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Concerto for Concert Band
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Thomas Oboe Lee
#
SheetMusicPlus
Concert Band - Level 4 - SKU: A0.869220 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 74 pa...
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Concert Band - Level 4 - SKU: A0.869220 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 74 pages. Thomas Oboe Lee #1934325. Published by Thomas Oboe Lee (A0.869220). Program note. Concerto for Concert Band is in four movements, played without pause. The first movement begins with a percussion fanfare that leads into woodwind melodies coupled with the euphonium. Then the percussion takes over again, with a timpani solo feature. The second movement is a dialogue between the clarinet and brass choirs. As the choir masses become more dense, a plaintive solo oboe emerges from the din … molto cantabile!!! The third movement is a scherzo featuring the trumpets and the woodwinds. The percussion section joins in with outbursts and commentaries … The brass choir returns in the last movement with more melodies emanating from the woodwinds. The work ends in quiet tranquility … molto cantabile again!!! The work is dedicated to the effervescent Bill Drury who conducts the wind ensembles at the New England Conservatory of Music. I was very grateful to Bill when he asked me to write something for him and the Jordan Winds at NEC. It is a huge challenge to compose music for large wind groups. I find most concert band pieces too thick and mucky in texture. The trick is to create concert band music that is light and transparent; to orchestrate in such a way that you can see/hear light seeping through. I hope I was able to do that. Enjoy!! Instrumentation: 3 Flutes (Fl. 3 also doubles on piccolo) 2 Oboes 2 Bassoons Clarinet in Eb 3 Clarinets in Bb 2 Bass Clarinets in Bb 4 French Horns 3 Trumpets in Bb (also doubling on Flugelhorns in Bb) 3 Trombones Euphonium Tuba Timpani Marimba Percussion 1: snare drum, 3 tom-toms Percussion 2: triangle, 2 bass drums This is a transposed score.
$9.99 ≈
9.14€
Yesterday Once More
Yesterday Once More
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Piano seul
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INTERMÉDIAIRE
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The Carpenters
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Timothy Stapay
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Then
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Yesterday Once More
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Timothy Stapay
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1262310 By The Carpenters. By John Bettis and Richard Carpenter. Arranged by Timothy Stapay. Film/TV,Pop,Rock,Singer/Song...
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Piano Solo - Level 3 - SKU: A0.1262310 By The Carpenters. By John Bettis and Richard Carpenter. Arranged by Timothy Stapay. Film/TV,Pop,Rock,Singer/Songwriter,Standards. Score. 2 pages. Timothy Stapay #855346. Published by Timothy Stapay (A0.1262310). A piano solo arrangement of Yesterday Once More; made famous by The Carpenters. Yesterday Once More, written by Richard Carpenter and John Bettis, is a hit song by the Carpenters from their 1973 album Now & Then. Thematically the song concerns reminiscing about songs of a generation gone by. It segues into a long medley, consisting of eight covers of 1960s tunes incorporated into a faux oldies radio program. The work takes up the entire B-side of the album.The single version of the song peaked at number 2 on the Billboard Hot 100 chart, kept from the number 1 spot by Bad, Bad Leroy Brown by Jim Croce. It was the duo's fifth number two hit and makes them the act with the second-most number two hits on the chart behind Madonna. The song also peaked at number 1 on the easy listening chart, becoming their eighth number 1 on that chart in four years.  It is the Carpenters' biggest-selling record worldwide and their best-selling single in the UK, peaking at number 2 Richard Carpenter stated, on a Japanese documentary, that it was his favorite of all the songs that he had written. He has performed an instrumental version at concerts.Lyrics:[Verse 1]When I was young, I'd listen to the radioWaitin' for my favorite songsWhen they played, I'd sing alongIt made me smile[Pre-Chorus 1]Those were such happy timesAnd not so long agoHow I wondered where they'd goneBut they're back againJust like a long-lost friendAll the songs I loved so well[Chorus 1]Every sha-la-la-laEvery whoa, whoa-oh still shinesEvery shing-a-ling-a-lingThat they're starting to sing so fineWhen they get to the partWhere he's breaking her heartIt can really make me cryJust like before, it's yesterday once more(Shoobie-doo, lang, lang)(Shoobie-doo, lang, lang) [Verse 2]Lookin' back on how it was in years gone byAnd the good times that I hadMakes today seem rather sadSo much has changed[Pre-Chorus 2]It was songs of loveThat I would sing to themAnd I'd memorize each wordThose old melodiesStill sound so good to meAs they melt the years away[Chorus 2]Every sha-la-la-laEvery whoa, whoa-oh still shines(Only oldies, but goodies)Every shing-a-ling-a-lingThat they're starting to sing so fineAll my best memoriesCome back clearly to meSome can even make me cryJust like before, it's yesterday once more(Shoobie-doo, lang, lang) [Outro]Every sha-la-la-laEvery whoa, whoa-oh still shinesEvery shing-a-ling-a-lingThat they're starting to sing so fineEvery sha-la-la-laEvery whoa, whoa-oh still shinesEvery shing-a-ling-a-lingThat they're starting to sing so fine...
$6.99 ≈
6.40€
I Beseech More Earnestly, a sacred hymn
I Beseech More Earnestly, a sacred hymn
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Kevin G
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I Beseech More Earnestly, a sa
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Kevin G. Pace
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus - Level 4 - SKU: A0.1472492 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religiou...
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Choral Choir,Choral,SATB Chorus - Level 4 - SKU: A0.1472492 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Sacred,Spiritual. 2 pages. Kevin G. Pace #1050138. Published by Kevin G. Pace (A0.1472492). A beautiful, sacred hymn with music by Kevin G. Pace and text by Mary Ann W. Snowball.Text:Like the fog in a storm and the sun who hides its face,Like pure shadows at noon, or a star out of place,Like the moon overhead in a dark and unclear night,I beseech more earnestly, seeking God’s pure light.Like bold sighs braving pain in Gethsemane’s lone space,Like the rock placed therein meant for grief’s leaning place,As blood dripping like rain for the pain is far too great,I beseech more earnestly, seeking God’s own traits.Like a child asking “How?” to his Father up above,Like each step to ascend on his ladder of love,Like each stretch sure to reach far beyond what I now know,I beseech more earnestly, trusting God to show.All at once I see light like a ray in shadowed sky,And it peers through each sphere as God’s voice in reply.Then more light, as if day, sheds its warmth into my soul . . .I still ask more earnestly, trusting to be whole.Perfect light comes from Him as He answers from his sky;From my bowed, lowered head, I can know Him on high.Perfect love shines below, from his ever-holy form,Right into my mended soul . . . his love to adorn.
$1.99 ≈
1.82€
Once More I Can See
Once More I Can See
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Piano, Voix et Guitare
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Comédie Musicale
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Frank Wildhorn and Wonderland
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Musical/Show
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Once More I Can See
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Frank Wildhorn and Wonderland (Musical). For piano, voice and guitar (chords only). Broadway; Musical/Show; Pop. Piano/Vocal/Guitar. 7 pages. Published by Ha...
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By Frank Wildhorn and Wonderland (Musical). For piano, voice and guitar (chords only). Broadway; Musical/Show; Pop. Piano/Vocal/Guitar. 7 pages. Published by Hal Leonard - Digital Sheet Music
$4.99 ≈
4.57€
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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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 ≈
21.95€
"Clarinet Concert Concertino" for Wind Band based on music by A.E.Williams arranged by S.Davies
"Clarinet Concert Concertino" for Wind Band based on music by A.E.Williams arranged by S.Davies
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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A
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Stephen Davies
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"Clarinet Concert Concert
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Stephen Davies
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.891956 Composed by A.E.Williams. Arranged by Stephen Davies. 20th Century,Standards. Score and Parts. 74 pages. Stephen...
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Concert Band - Level 4 - SKU: A0.891956 Composed by A.E.Williams. Arranged by Stephen Davies. 20th Century,Standards. Score and Parts. 74 pages. Stephen Davies #6094485. Published by Stephen Davies (A0.891956).   CLARINET CONCERT CONCERTINO FOR WIND BAND I don’t normally enter long descriptions of my arrangements, nothing worse than seeing that little sign on the bottom right saying ‘see more’, however this piece has a rather interesting story that I’d like to share with you! It was maybe 8 or 9 years ago that I helped in the library of the Band Of The Guards Association, a group of musicians who were all members of the Household Division Bandsin London, that is to say the Grenadier, Coldstream, Scots, Irish, Welsh, Life Guards and Blues & Royals bands, chiefly known the world over for Changing The Guard at Buckingham Palace and many other ceremonial occasions. The Band Of The Guards Association were privileged to rehearse at the Royal Hospital Chelsea, home of the famous Chelsea Pensioners, renowned for their Redcoats and medals as veterans of the British Army. Our library of music for the band at the time was held in an air raid shelter deep in the cellars underneath the labyrinthine corridors of the old building built by Sir Christopher Wren back in the 1680’s. When I say ‘air raid shelter’, that is exactly what it was like! Can’t go into too much detail, but suffice it to say that it was like being transported back in time! But this is where the library was kept, complete with dusty shelves, blackout warnings, obsolete bulb replacements and tunnels to the Thames! The man in charge of the library was Mr.Gordon ‘Joe’ Stafford, former Solo Clarinet with HM Band Of The Welsh Guards (ret’d), a fine player of that instrument in his day, and revered as such even now. About 8 years ago, our ‘underground ‘ library was deemed a fire hazard, and we were ‘invited’ to move it elsewhere. As we had our practice room nearby in the Chelsea Hospital, we decided to relocate the whole library there, shelving being built and constructed by enthusiastic band members. Joe Stafford and myself were not particularly enthusiastic about this, but it had to be done. Having looked at the enormous amount of music to be moved, we thought about ditching some of the scores which would never be played again, for instance selections of musicals long forgotten, scores with multiple missing parts etc. Lots of that music went to local music organisations simply for sight reading purposes, and the more complete versions went to bands and orchestras to bolster their stock of scores. After the laborious sorting out in the air raid shelter, Joe and I had the unenviable task of discarding the scores and parts that were incomplete, defaced, or just basically useless. It was an arbitrary case of ‘keep or throw’, and at the time we were doing this, Joe was desperate for a pint in the bar! I agreed, and was anyway on my last batch of throwaways when I found a piece titled ‘Clarinet Concerto’, by A.E.Williams. Written in pencil, with ancient sellotape, and signed by all the people who played it many years ago, including the Soloist and composer, I thought that that should not be binned, so I kept it! Joe Stafford suggested that I should ‘get it out there’ , so I have. Incidentally it has a cracking Cadenza towards the end, it was a bit smudged in the original score, but I’ve filled in the gaps!! This would be an ideal addition to the band repertoire for Clarinet!
$49.99 ≈
45.74€
Bach-Gounod: Ave Maria for Oboe d'Amore & Piano
Bach-Gounod: Ave Maria for Oboe d'Amore & Piano
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Bach-Gounod
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James M
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Bach-Gounod: Ave Maria for Obo
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jmsgu3
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SheetMusicPlus
Instrumental Solo,Oboe d'Amore,Piano - Level 2 - SKU: A0.549360 Composed by Bach-Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Contemporary,Eas...
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Instrumental Solo,Oboe d'Amore,Piano - Level 2 - SKU: A0.549360 Composed by Bach-Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Contemporary,Easter,Wedding. Score and individual part. 12 pages. Jmsgu3 #3490109. Published by jmsgu3 (A0.549360). This arrangement follows the original Bach prelude and so excludes the extra measure that Schwencke introduced in 1783. If you prefer the extra measure, please see Bach-Gounod: Ave Maria, Schwencke version for Oboe d'Amore & Piano - S0.661867. The convenient 1st & 2nd endings provide an option for extended performance with minimal page turns for the accompanist. The duration with repeat is about 4:50. Score: 6 pages. Solo part: 1 page, piano part: 4 pages. Based on Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Well suited for church meditations or school programs or recital encores. Ave Maria Ave Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach’s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created an engaging new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. Â
$32.95 ≈
30.15€
Once to Every Man and Nation
Once to Every Man and Nation
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Piano, Voix et Guitare
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INTERMÉDIAIRE
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Musique Sacrée
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Words: James Russell Lowell /
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Lyndell Leatherman
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Once to Every Man and Nation
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Leatherman Music Services
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1295444 Composed by Words: James Russell Lowell / Music: John Zundel. Arranged by Lyndell Leatherman. Chris...
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Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1295444 Composed by Words: James Russell Lowell / Music: John Zundel. Arranged by Lyndell Leatherman. Christian,Religious,Sacred. Score. 2 pages. Leatherman Music Services #885727. Published by Leatherman Music Services (A0.1295444). Welcome to this entry in the Leatherman Library of Hymnody (LLOH).Features of the series include:•Intermediate 2-page arrangements suitable as either piano or organ solos.•Chord symbols included as a service to classical guitarists.•Lyrics included (and occasionally updated) to facilitate congregational singing or vocal solo.•Hymn background information included for personal edification or use as printed program notes.•Optional repeats which allow you to fit into the allotted time available in a service.•An introduction and/or tag in many cases, often incorporating a classical excerpt or related hymn fragment.While this text is more often wedded to the sturdy EBENEZER tune, BEECHER is a worthy alternate, especially if it is more familiar to your congregation.If you like this format, you may be interested in a published volume of 75 similar arrangements: BEST-LOVED HYMNS I  (© FJH Music, distributed by Alfred Music).************It has long been my passion and privilege to create customized arrangements for the churches and schools with whom I have been associated. Many were published; some were not. During the 2020 slowdown caused by Covid-19, I finally had the time to start posting the unpublished resources on Sheet Music Plus. If you are curious about what else is available, please navigate to my publisher page here on SMP < https://www.sheetmusicplus.com/publishers/leatherman-music-services/16718 >  or slip over to Facebook < https://www.facebook.com/leathermanmusicservices >, where you can see and hear many of my published works. Thanks for your interest!   God bless!Lyndell Leatherman, ASCAP.
$2.99 ≈
2.74€
Christmas Medley I
Christmas Medley I
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Musique Sacrée
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Donna Rod
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Christmas Medley I
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Donna Rod
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SheetMusicPlus
String Ensemble,String Trio - Level 3 - SKU: A0.993814 Arranged by Donna Rod. Christmas,Praise & Worship,Sacred. Score and parts. 19 pages. Donna Rod #6...
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String Ensemble,String Trio - Level 3 - SKU: A0.993814 Arranged by Donna Rod. Christmas,Praise & Worship,Sacred. Score and parts. 19 pages. Donna Rod #6047247. Published by Donna Rod (A0.993814). This arrangement includes six Christmas carols, listed below. They can be played as a continuous medley or separately. For more carols, please see Christmas Medley II and Christmas Medley III, also arranged by Donna Rod. Carols: O Come All Ye Faithful, Joy to the World, Silent Night, We Three Kings of Orient Are, Once in David’s Royal City and Good King Wenceslas
$14.99 ≈
13.71€
Once More I Can See from Wonderland - Piano/Vocal/Chords, Singer Pro
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Piano, Voix
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Once More I Can See from Wonde
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Musicnotes
Frank Wildhorn - Once More I Can See - from the Broadway Musical Wonderland Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloa...
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Frank Wildhorn - Once More I Can See - from the Broadway Musical Wonderland Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Piano/Vocal/Chords;Singer Pro, instruments: Voice;Piano; 5 pages --
$5.50 ≈
5.03€
Once More I Can See from Wonderland - Piano/Vocal/Chords
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Piano, Voix
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Once More I Can See from Wonde
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Musicnotes
Frank Wildhorn - Once More I Can See - from the Broadway Musical Wonderland Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloa...
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Frank Wildhorn - Once More I Can See - from the Broadway Musical Wonderland Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal/Chords, instruments: Voice;Piano; 7 pages --
$5.50 ≈
5.03€
Bach-Gounod: Ave Maria, Schwencke version for Oboe d'Amore & Piano
Bach-Gounod: Ave Maria, Schwencke version for Oboe d'Amore & Piano
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J
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James M
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Bach-Gounod: Ave Maria, Schwen
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jmsgu3
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SheetMusicPlus
Instrumental Solo,Oboe d'Amore,Piano - Level 2 - SKU: A0.550930 Composed by J. S. Bach - Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Easter,S...
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Instrumental Solo,Oboe d'Amore,Piano - Level 2 - SKU: A0.550930 Composed by J. S. Bach - Gounod. Arranged by James M. Guthrie, ASCAP. Christmas,Easter,Standards. Score and individual part. 12 pages. Jmsgu3 #4888395. Published by jmsgu3 (A0.550930). This arrangement features the controversial Schwencke measure (ms. 27) that was originally introduced in 1783 by Christian Friedrich Gottlieb Schwencke. The convenient 1st & 2nd endings provide an option for extended performance. Duration with repeat - 4:50. Score: 7 pages. Solo part: 1 page, piano part: 4 pages. Based on Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Well suited for church meditations or school programs or recital encores. Ave Maria Ave Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach’s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as a court composer.  Style It seems like Bach created an engaging new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined.
$32.95 ≈
30.15€
Oh My Love's Gone. I Shall See Him No More
Oh My Love's Gone. I Shall See Him No More
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Piano, Voix
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Oh My Love's Gone. I Shall See
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - SKU: LV.18289 Bodies of water, Humorous pictures, Cartoons, Drownings, Accidents, Ships, Fish, Courtship & love, Turtles, Frogs, Seame...
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Piano and voice - SKU: LV.18289 Bodies of water, Humorous pictures, Cartoons, Drownings, Accidents, Ships, Fish, Courtship & love, Turtles, Frogs, Seamen, Suicide. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.18289). Oh My Love's Gone. I Shall See Him No More. . Published 1858 by Truax & Baldwin, No.66 West Fourth St. in Cincinnati. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Bodies of water, Humorous pictures, Cartoons, Drownings, Accidents, Ships, Fish, Courtship & love, Turtles, Frogs, Seamen, Suicide. First line reads As I was a walking down by the sea shore, Where the breezes blew cold.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99 ≈
5.48€
8 Swinging Xmas Carols for Descant (Soprano Recorder) & Piano
8 Swinging Xmas Carols for Descant (Soprano Recorder) & Piano
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Flûte à bec Soprano
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INTERMÉDIAIRE/AVANCÉ
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Noël
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Keith Terrett
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Keith Terrett
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Piano
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8 Swinging Xmas Carols for Des
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Keith Terrett
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SheetMusicPlus
Recorder Solo,Soprano Recorder - Level 4 - SKU: A0.1315338 By Keith Terrett. By Various. Arranged by Keith Terrett. 20th Century,Christian,Christmas,Con...
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Recorder Solo,Soprano Recorder - Level 4 - SKU: A0.1315338 By Keith Terrett. By Various. Arranged by Keith Terrett. 20th Century,Christian,Christmas,Contest,Festival,Praise & Worship. Individual part. 29 pages. Keith Terrett #904087. Published by Keith Terrett (A0.1315338). An exciting arrangement of eight popular swinging xmas carols arranged for Soprano/Descant Recorder & Piano; in an up-beat and somewhat jazzy manner. This challenging set of carols, offers players in general, something very different for those Christmas concerts and recitals, give them a go, and I am sure that you won’t be disappointed!The set includes: Ding Dong Merrily On High, Silent Night,We Three Kings,Away in a Manger, Joy to the World, God Rest Ye Merry Gentlemen, Deck the Halls & Good King Wenceslas.The part is all written out with jazz inflections and articulation included. The Piano part is all written out, but also includes the jazz chords for players who wish to comp. These Carols are playable by moderately advanced performers and are perfect for parties, church services, busking & recitals. Range is very moderate, nothing high at all.Need an anthem fast? They are ALL in my store!All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible!Reviewer Chet Heflin Date 29th Sep 2006Bluesy Xmas! Keith Terrett has done an outstanding job of injecting jazz and blues into these holiday favorites. The writing beginning in measure 13 of Ding Dong Merrily On High is outstanding. Check out the wonderful contrast in movement between the flute and bass. This arrangement of Xmas carols would be a wonderful addition to any future holiday program. Well done Keith! Have fun! Caroling (singing carols in the street) is one of the oldest customs in Great Britain, going back to the Middle Ages when beggars, seeking food, money, or drink, would wander the streets singing holiday songs.For more of my music for Recorder, check out:AMERICAN RECORDER SOCIETY MEMBERS LIBRARYGlen Shannon, EditorKeith TerrettHavana Rhubarb Rumbafor 4-7 RecordersPublished as a supplement to American Recorder.
$15.99 ≈
14.63€
I Ain't Worried
I Ain't Worried
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Piano, Voix et Guitare
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FACILE
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OneRepublic
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Barry McCormick
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I Ain't Worried
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B. McCormick
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 2 - SKU: A0.1042119 By OneRepublic. By Bjorn Yttling, Brent Kutzle, John Eriksson, Peter Moren, Ryan Tedder, and Tyler ...
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Guitar,Piano,Vocal,Voice - Level 2 - SKU: A0.1042119 By OneRepublic. By Bjorn Yttling, Brent Kutzle, John Eriksson, Peter Moren, Ryan Tedder, and Tyler Spry. Arranged by Barry McCormick. Film/TV,Pop. Score. 8 pages. B. McCormick #646917. Published by B. McCormick (A0.1042119). About this Piano/Vocal/Guitar arrangement of “I Ain’t Worried†This One Republic hit from the sound track of “Top Gun:Maverik†is a catchy tune to learn. This piano, guitar and vocal arrangement will help you learn the song “I Aint Worried.†The key is in F major and included is the lead sheet so this can be given to another instrumentalist or singer to perform along. The distinct features in the song, the bass and the hook I have kept close to the recording on the track. I have done some slight adjustments for the piano accompaniment to break up and differentiate the different sections otherwise it would be very repetitive. It is a very simple song in essence, a four chord riff and rhythmic motif that breaks for the bridge section. The rhythm isn’t the simplest for the bass part that permeates the song however it is repetitive which means once that is learned you have practically mastered the whole song. There is a lot of back and forward in the music to the chorus which jumps to different parts. I have tried to simplify this by using boxed text to identify each section clearly and indicate when you should jump to each section. Using first, second and third time bars with D.S and coda markings cluttered the music up and made it seem more complicated. So I hope this editorial decision to use boxed text makes it clearer. If you like this arrangement a also have some other arrangements of Christian worship songs and Hymns from Lead sheets to classical guitar arrangements you may also like to check out. About the Arranger, Barry McCormick I am Barry McCormick, I have an MA in music from the University of Glasgow. I am a musician, composer and arranger from Scotland. I have over 20 years experience in teaching music at a classroom and private tuition level and have taught students from early years to more mature in years. I was involved in a group using music as a means to aid mental health teaching guitar for those purposes. I now mainly focus on composing and arranging and trying to provide resources through various means for students and music educators. You can find me online You can keep up to date with me through my website and social media: Connect on inaminim.com. This is my new website where I am posting my new arrangements and compositions as well as trying to help build and collate resources that will be useful for those learning and teaching music. Connect on YouTube This is the place I will be uploading the videos of my arrangements where you can hear them alongside music educational content. Connect on Tik Tok This is a platform I am cautiously trying to utilise properly to promote my website. If you would like to follow me there please feel free. I will hopefully get over my apprehension and post more frequently soon!
$4.99 ≈
4.57€
I Am Resolved
I Am Resolved
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Piano, Voix et Guitare
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INTERMÉDIAIRE
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Dallas Christian Adult Concert
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Lyndell Leatherman
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I Am Resolved
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Leatherman Music Services
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1400903 By Dallas Christian Adult Concert Choir. By Words: Palmer Hartsough / Music: James H. Fillmore. Arr...
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Guitar,Piano,Vocal,Voice - Level 3 - SKU: A0.1400903 By Dallas Christian Adult Concert Choir. By Words: Palmer Hartsough / Music: James H. Fillmore. Arranged by Lyndell Leatherman. Christian,Religious,Sacred. Score. 2 pages. Leatherman Music Services #984122. Published by Leatherman Music Services (A0.1400903). Welcome to this entry in the Leatherman Library of Hymnody (LLOH).Features of the series include:•Intermediate 2-page arrangements suitable as either piano, electronic keyboard, or organ solos or duets.•Chord symbols included as a service to classical guitarists.•Smooth voice-leadings, making the arrangements ideal for solo/prelude use on electronic keyboards–for example, using the piano/strings setting•Lyrics included (and occasionally updated) to facilitate congregational singing or vocal solo.•Hymn background information included for personal edification or use as printed program notes.•Optional repeats which allow you to fit into the allotted time available in a service.•An introduction and/or tag in many cases, often incorporating a classical excerpt or related hymn fragment.If you like this format, you may be interested in a published volume of 75 similar arrangements: BEST-LOVED HYMNS I, available here: https://www.alfred.com/best-loved-hymns-i/p/98-FJH2023/************It has long been my passion and privilege to create customized arrangements for the churches and schools with whom I have been associated. Many were published; some were not. During the 2020 slowdown caused by Covid-19, I finally had the time to start posting the unpublished resources on Sheet Music Plus. If you are curious about what else is available, please navigate to my publisher page here on SMP < https://www.sheetmusicplus.com/publishers/leatherman-music-services/16718 >  or slip over to Facebook < https://www.facebook.com/leathermanmusicservices >, where you can see and hear many of my published works. Thanks for your interest!   God bless!Lyndell Leatherman, ASCAP.
$3.99 ≈
3.65€
Do That To Me One More Time
Do That To Me One More Time
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Instruments en Do
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INTERMÉDIAIRE/AVANCÉ
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Captain & Tennille
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John Fries
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Do That To Me One More Time
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John Fries
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SheetMusicPlus
C Instrument - Level 4 - SKU: A0.500265 By Captain & Tennille. By Toni Tennille. Arranged by John Fries. 20th Century,Jazz,Pop,Standards. Lead Sheet / F...
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C Instrument - Level 4 - SKU: A0.500265 By Captain & Tennille. By Toni Tennille. Arranged by John Fries. 20th Century,Jazz,Pop,Standards. Lead Sheet / Fake Book. 1 pages. John Fries #113453. Published by John Fries (A0.500265). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Â You can also type John Fries in the searchbar to see all I have to offer. Do That to Me One More Time is a song performed by the American pop duo Captain & Tennille. It was their 13th charting hit in the United States, and their second number 1 hit on the Billboard Hot 100 chart. It features a Lyricon solo by saxophonist Tom Scott, though Captain mimed to this part on a descant recorder in the promotional video. Do That to Me One More Time was a comeback for the duo, but they failed to achieve further success on Casablanca and their contract was not renewed. Vocalist and songwriter Toni Tennille played the song for Bogart at her house with husband Daryl Dragon in Pacific Palisades, California on an electric piano. Bogart reacted enthusiastically, saying: That's a smash! There's no doubt in my mind that's going to be your first single..
$3.99 ≈
3.65€
Silence Once Served
Silence Once Served
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Dan Chadburn
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Silence Once Served
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Dan Chadburn Music
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.744826 Composed by Dan Chadburn. Concert,Contemporary,New Age,Spiritual,Standards. Score. 4 pages. Dan Chadburn Music #61...
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Piano Solo - Level 4 - SKU: A0.744826 Composed by Dan Chadburn. Concert,Contemporary,New Age,Spiritual,Standards. Score. 4 pages. Dan Chadburn Music #6109167. Published by Dan Chadburn Music (A0.744826). Silence Once Served is one of more than 300 piano improvisations Dan Chadburn first created in 1996, each one played on an electronic midi piano into a computer's memory using MOTU's Performer software. In late 1997, Dan transcribed nine of these improvisations, including Silence Once Served, and recorded each of them in early 1998 at Bias Studios in Springfield, Virginia, along with four new improvisations. These thirteen tracks were then released on Dan's 1998 award-winning album, Solo Piano.In her review at MainlyPiano.com, Kathy Parsons wrote, Dan Chadburn's debut recording is a soaring collection of thirteen wonderful compositions and improvisations. Some solo piano albums seem a bit empty and in need of accompaniment, but Dan clearly indicates why solo piano can be the most expressive of any musical medium. I've probably listened to this album at least twenty times, but each time, I've discovered something new, and the songs always seem as fresh as the first time I heard them.For more infomation about Dan Chadburn and his music, visit his website at www.DanChadburn.com
$5.50 ≈
5.03€
Because I Love You (the Postman Song)
Because I Love You (the Postman Song)
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Instruments en Do
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INTERMÉDIAIRE/AVANCÉ
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Stevie B
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John Fries
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Because I Love You
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John Fries
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SheetMusicPlus
C Instrument - Level 4 - SKU: A0.503339 By Stevie B. By Warren Brooks. Arranged by John Fries. 20th Century,Pop,Standards. Lead Sheet / Fake Book. 1 pag...
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C Instrument - Level 4 - SKU: A0.503339 By Stevie B. By Warren Brooks. Arranged by John Fries. 20th Century,Pop,Standards. Lead Sheet / Fake Book. 1 pages. John Fries #115483. Published by John Fries (A0.503339). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. This is a rare song with a subtitle that appears just once in the verse section of the lyrics. The opening line, I got your letter from the postman just the other day proved to be a powerful phrase for this song about a man trying desperately to hold on to his girl. The song became better known as The Postman Song instead of the more common title Because I Love You. This arrangement is in a key that works better instrumentally.
$3.99 ≈
3.65€
Because I Love You (the Postman Song)
Because I Love You (the Postman Song)
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Piano, Voix et Guitare
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INTERMÉDIAIRE/AVANCÉ
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Stevie B
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John Fries
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Because I Love You
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John Fries
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1201309 By Stevie B. By Warren Brooks. Arranged by John Fries. 20th Century,Pop,Standards. Score. 3 pages. ...
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Guitar,Piano,Vocal,Voice - Level 4 - SKU: A0.1201309 By Stevie B. By Warren Brooks. Arranged by John Fries. 20th Century,Pop,Standards. Score. 3 pages. John Fries #799963. Published by John Fries (A0.1201309). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer. Thanks, John. This is a rare song with a subtitle that appears just once in the verse section of the lyrics. The opening line, I got your letter from the postman just the other day proved to be a powerful phrase for this song about a man trying desperately to hold on to his girl. The song became better known as The Postman Song instead of the more common title Because I Love You. This arrangement is in a key that works better instrumentally.
$4.99 ≈
4.57€
I Sit Here on the Barren Hill
I Sit Here on the Barren Hill
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE
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Fiona Alice Hickie
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Fiona Alice Hickie
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I Sit Here on the Barren Hill
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Fiona Alice Hickie
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1419806 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice Hickie. 21st ...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.1419806 By Fiona Alice Hickie. By Fiona Alice Hickie. Arranged by Fiona Alice Hickie. 21st Century,Chamber,Classical,Latin. 17 pages. Fiona Alice Hickie #1001228. Published by Fiona Alice Hickie (A0.1419806). A piece for brass quintet based on the poem by the same name. It is a slow piece is a South American style.Based on the poem: Lyrics: 1. My roots once clung to the earth, The wind is calm the river still. As if nothing else survives. My world is empty, am I alive? From my limbs a fruit was plucked, Within its sheath my heart was tucked. Its seeds contained my unknown future, Inside a flesh so sweet and pure. 2. Would my seeds find a place to fall? Nice fertile ground so they'd grow tall. Or would they find some barren ground. Where no love or nurture can be found? Without the fruit my limbs were bare. An old tree nearby just stood and stared. Why should it stop and help the tree Who let its fruit be taken from thee. 3. About the charmer who took the fruit? Should he help to make them grow? Instead he walked right off the land. With barely a wave of his hand. He bit the apple as he walked away. Enjoying its flesh but did not stay. No care at all for the damage he’d done He took the heart from his loved one. 4. So grow another fruit you say. And yes that would be the logical way. But some trees grow abundant fruit. Small and nice without dispute. Others instead grow one to perfection. Round and sweet, on close inspection. But once it’s gone then that is all. Then no more shall ever fall. 5. I sit here on the barren hill, The wind is calm the river still. As if nothing else survives. The world is empty no soul survives. Dedicated to Ben van den Akker.
$13.99 ≈
12.80€
Feux d'artifice [Arrangement for concert band] - Score Only
Feux d'artifice [Arrangement for concert band] - Score Only
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Orchestre d'harmonie
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AVANCÉ
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Classique
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Masakazu YAMAMOTO
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Masakazu YAMAMOTO
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Feux d'artifice [Arrangement f
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Motch Music
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.1089980 By Masakazu YAMAMOTO. By Claude Debussy. Arranged by Masakazu YAMAMOTO. 20th Century,Classical,Contest,Festival...
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Concert Band - Level 5 - SKU: A0.1089980 By Masakazu YAMAMOTO. By Claude Debussy. Arranged by Masakazu YAMAMOTO. 20th Century,Classical,Contest,Festival,Film/TV,Pop. 22 pages. Motch Music #694194. Published by Motch Music (A0.1089980). Arrangement for concert band.This is the 12th song from Preludes 2nd book, which is Debussy's mature piano music. It is a depiction of the Paris Festival (Revolutionary Day) on July 14. Against the background of the first triplet, you can start to see fireworks shining in the distance. After getting closer and closer and launching it bigger, it's dizzying and colorful.It's changing to shine. Fanfare-style motifs that appear on the way are deployed in various ways, and they are magnificently reproduced at the climax at the end.And the French national anthem La Marseès concludes the song with a reverberation in the aftertaste.The whole scale and the tonic sound are skillfully combined, and the original song is very pianistic.I want to switch the tone and tempo firmly for each scene, and try to play crisp and colorful performances. Commissioned by conductor Keiko Kobayashi, and the Sony Concert Band. Premiered on July 2, 2022. Playing time: about 5'00(arr. Masakazu YAMAMOTO)[Instrumentation]Piccolo Flute 1, 2 Oboe 1, 2 Bassoon (option) Eb Clarinet Bb Clarinet 1, 2, 3 Bb Bass Clarinet Eb Alto Saxophone 1, 2 Bb Tenor Saxophone Eb Baritone Saxophone Bb Trumpet 1, 2, 3 F Horn 1, 2, 3, 4 Trombones 1, 2, 3 Euphonium Tuba String Bass Harp (option) Timpani Percussion (5 players) 1 (Glockenspiel, Whip) 2 (Vibraphone, Triangle, Xylophone, Wind-chime) 3 (Suspended Cymbal, Wind-chime, Triangle, Whip, Rachet, Crash Cymbal) 4 (Snare Drum, Suspended Cymbal, Bass Drum) 5 (Maracas, Bass Drum, Rachet, Tambourine, Tam-tam, Snare Drum) Works For Concert Band Original Composition (Sheet Music Plus / Sheet Music Direct)Arrangement (Sheet Music Plus / Sheet Music Direct)----------------------------------------------------- Motch Music All Sheet Music (Sheet Music Plus / Sheet Music Direct)I have a wide selection of sheet music for various instruments such as piano, ensemble, and concert band. From light and enjoyable pieces to concert-level compositions, we cover a wide range of repertoire. I also provide a rich collection of audio preview.In addition to original compositions and unique arrangements, a lot of text on music analysis is well-received. Please take a look below for more information!Motch Music Web Pagehttps://www.masakazuyamamoto.com/english Â
$40.00 ≈
36.60€
Thérèse Brenet: (5523) Luminet 1991 PH8 for concert band, score
Thérèse Brenet: (5523) Luminet 1991 PH8 for concert band, score
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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New Age
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Contemporain
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Therese Brenet
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Thérèse Brenet:
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Musik Fabrik Music Publishing
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.540710 Composed by Therese Brenet. Contemporary,New Age. Score and parts. 39 pages. Musik Fabrik Music Publishing #6209...
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Concert Band - Level 4 - SKU: A0.540710 Composed by Therese Brenet. Contemporary,New Age. Score and parts. 39 pages. Musik Fabrik Music Publishing #62093. Published by Musik Fabrik Music Publishing (A0.540710). The composer writes : This work was premièred on April 27, 2003 at the Eglise Saint-Roch in Paris with the prestigious Orchestre de la Musique de L’Armée de L’Air, under the direction of my friend and colleague, Claude Picheraureau. I have always been fascinated by the beauty of the Cosmos, which has inspired many of my works. Feelings of infinite movement can be expressed musically and it seemed to me that one of the ways to do this was to end this work on a repeated phrase played in a long perdendosi, to give the impression that one is hearing the echoes of the finished phrase as the instruments stop playing. I had just started to write this work when I received a note for the Paris Observatory which gave me the news that the astronomical community had decided to name a newly discovered asteroid for Jean-Pierre Luminet. When I wrote to Jean-Pierre to congratulate him on this honour, reminding him with the Petit Prince that not everyone has their own star, I asked him if he would accept that I name this work for concert band with the full name of his asteroid: 5523 Luminet 1991 PH8. Jean-Pierre accepted my proposition by return letter : ..., not only do I not have any objection, but I would be very honoured. To be in the celestial spheres in the form of a rock and also in the form of music, what more could one ask for? The work is scored for : Piccolo 2 Flûtes/2 Flutes 2 Hautbois/2 Oboes Cor Anglais/English Horn 2 Bassons/2 Bassoons Contrebasson/Contrabassoon Petite Clarinette en Mib/Eb Clarinet 1ers Clarinettes en Sib/1st Bb Clarinets : 2mes Clarinettes en Sib/2nd Bb Clarinets Clarinette Basse/Bass Clarinet 1er Saxophone Alto en Mib/1st Eb Alto Saxophone 2me Saxophone Alto en Mib/2nd Eb Alto Saxophone Saxophone Ténor en Sib/Bb Tenor Saxophone Saxophone Baryton en Mib/Eb Baritone Saxophone 4 Cors en fa/4 F Horns 2 trompettes en Sib/2 Bb Trumpets 2 cornets en Sib/2 Bb Cornets 2 Trombones Ténors/2 Tenor Trombones Trombone Basse/Bass Trombone Euphonium Tuba en Ut/Tuba in C Contrebasse à cordes/String Bass Harpe/Harp Timbales/Tympani Percussion I : Marimba Cloches en Tube/Tubular Bells &wRt Grosse Caisse/Bass Drum = G.C Tambour/Field Drum = Tamb. Percussion II : Jeu de timbres/Glockenspeil = JdT Caisse Claire/Snare Drum = c. cl. Percussion III : Gong 3 cymbales suspendues (aigu, medium, grave)/3 suspended cymbales (high, medium, low) = CSa, CSm, CSg 3 Tamtams (aigu, medium, grave/high, medium, low) = TTA, TTM, TTG Duration : aprox 12 minutes. This item is the full score. The parts are available in three sets (wind parts/brass part/percussion + harp and double bass) and each individual part is also available.
$19.95 ≈
18.25€
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Once More I Can See
