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While Trying to Get Used to Your Absence
While Trying to Get Used to Your Absence
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Piano solo
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ADVANCED
#
Rebecca Oswald
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While Trying to Get Used to Yo
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Rebecca Oswald
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.1176047 By Rebecca Oswald. By Rebecca Oswald. Contemporary,Instructional,New Age. Score. 7 pages. Rebecca...
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Piano Solo - Level 5 - Digital Download SKU: A0.1176047 By Rebecca Oswald. By Rebecca Oswald. Contemporary,Instructional,New Age. Score. 7 pages. Rebecca Oswald #776173. Published by Rebecca Oswald (A0.1176047). Sheet music single for advanced solo piano. This emotionally intense, tragic, elegiac anthem in A minor uses a French double-dot style of strict rhythm in the melody. The piece alternates, sometimes suddenly, between quiet midrange passages and thundering, large leaps to powerful chords. With numerous contrapuntal lines, careful finger pedal is needed to effect the suspensions and sustain various other notes across the pedal changes. From composer/pianist Rebecca Oswald's album Whereas, you can find this song on Spotify, Apple Music, Tidal, Pandora, Amazon Music, YouTube Music, Qobuz, or wherever you enjoy listening to music.Find out more about Rebecca Oswald at her website, RebeccaOswald.com
$4.99 ≈
¥35.41
Got To Get You Into My Life
Got To Get You Into My Life
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Concert band
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ADVANCED
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Soul/R&B
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Earth Wind and Fire
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Michael Pilley
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Got To Get You Into My Life
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Michael Pilley Music
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SheetMusicPlus
Concert Band - Level 5 - Digital Download SKU: A0.1077464 By Earth Wind and Fire. By John Lennon and Paul McCartney. Arranged by Michael Pilley. Hip-Hop,...
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Concert Band - Level 5 - Digital Download SKU: A0.1077464 By Earth Wind and Fire. By John Lennon and Paul McCartney. Arranged by Michael Pilley. Hip-Hop,Pop,R & B. Score and parts. 112 pages. Michael Pilley Music #681655. Published by Michael Pilley Music (A0.1077464). From one of the greatest writing duos to ever exist, coupled with one of the greatest RnB bands ever, Got To Get You Into My Life is a toe-tapping tune with catchy melodies and a energetic shuffle feel. For full Wind Band including many of the optional instruments that are often left out (Cor Anglais, Eb Clarinet and Soprano Saxophone), this arrangement features each section of the band on the tune, and really captures the original EWF groove. Jazz articulations and an ability to play the nuances in the tune are important here, so really dig into your bands groovy side to bring out the funk. Pay careful attention to note lengths, especially in the bass line and let your drummer drive the rhythms. Beautifully laid out in A4 size, the score and parts are easy to read and available NOW for digital download. We suggest you print on 80gsm paper, to ensure that the copies last longer in your bands library. If you're printing on letter size paper, please fit to page when sending to the printer. More music can be found at www.michaelpilleymusic.com and follow me at https://www.facebook.com/MichaelPilleyMusic/ or https://twitter.com/MPilleyMusic
$50.00 ≈
¥354.82
There's No Business Like Show Business
There's No Business Like Show Business
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String Quartet: 2 violins, viola, cello
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ADVANCED
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Contemporary
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Broadway
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Irving Berlin
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Aaron Lee
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There's No Business Like Show
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J. Aaron Lee
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.1107860 Composed by Irving Berlin. Arranged by Aaron Lee. 20th Cent...
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String Quartet Cello,String Quartet,Viola,Violin - Level 5 - Digital Download SKU: A0.1107860 Composed by Irving Berlin. Arranged by Aaron Lee. 20th Century,Broadway,Chamber,Musical/Show. 27 pages. J. Aaron Lee #710473. Published by J. Aaron Lee (A0.1107860). There's No Business Like Show Business is the opening number from Irving Berlin's musical, Annie Get Your Gun. In it, the cast are eagerly singing about the joys and challenges of being live performers in an upbeat, energetic number. This arrangement for string quartet is rather challenging and could be suitable for professionals or perhaps advanced students. For more music from Aaron Lee, you can visit www.MusicOfLee.com.
$14.99 ≈
¥106.37
Nice Work If You Can Get It from A DAMSEL IN DISTRESS
Nice Work If You Can Get It from A DAMSEL IN DISTRESS
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Choral SSAA
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ADVANCED
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Frank Sinatra
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Kohl Kitzmiller
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Nice Work If You Can Get It fr
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Kohl Kitzmiller
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SheetMusicPlus
Choral Choir,Choral (SSAA) - Level 5 - Digital Download SKU: A0.510408 By Frank Sinatra. By George Gershwin and Ira Gershwin. Arranged by Kohl Kitzmiller...
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Choral Choir,Choral (SSAA) - Level 5 - Digital Download SKU: A0.510408 By Frank Sinatra. By George Gershwin and Ira Gershwin. Arranged by Kohl Kitzmiller. A Cappella,Film/TV,Jazz,Standards. 8 pages. Kohl Kitzmiller #4967629. Published by Kohl Kitzmiller (A0.510408). Learning audio for this arrangement is available HERE. For more information about my arrangements and learning media, visit my website HERE.
$3.99 ≈
¥28.31
Passacaglia ungherese
Passacaglia ungherese
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Harpsichord
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ADVANCED
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Classical
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Gyorgy Ligeti
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Passacaglia ungherese
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Schott Music - Digital
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SheetMusicPlus
Harpsichord - advanced - Digital Download Composed by Gyorgy Ligeti (1923-2006). This edition: Sheet music. Downloadable. Duration 5 minutes. Schott ...
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Harpsichord - advanced - Digital Download Composed by Gyorgy Ligeti (1923-2006). This edition: Sheet music. Downloadable. Duration 5 minutes. Schott Music - Digital #Q2826. Published by Schott Music - Digital
The edition is part of the ABRSM syllabus (grade 8).
$12.99 ≈
¥92.18
String Quartet n.1 "Et expecto" in memoriam Gyorgi Ligeti
String Quartet n.1 "Et expecto" in memoriam Gyorgi Ligeti
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String Quartet: 2 violins, viola, cello
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ADVANCED
#
Panagiotis Theodossiou
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String Quartet n.1 "Et expecto
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Panagiotis Theodossiou
#
SheetMusicPlus
String Quartet String Quartet - Level 5 - Digital Download SKU: A0.886701 Composed by Panagiotis Theodossiou. Concert,Contemporary,Standards. Score and p...
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String Quartet String Quartet - Level 5 - Digital Download SKU: A0.886701 Composed by Panagiotis Theodossiou. Concert,Contemporary,Standards. Score and parts. 58 pages. Panagiotis Theodossiou #3579277. Published by Panagiotis Theodossiou (A0.886701). String Quartet in memoriam Gyorgi Ligeti (2006) The work is written in the memory of G. Ligeti. It goes from strict atonal to tonal and almost neoclassical idiom, from inner intense expression to parody and grotesque humour. Elements so characteristic in the musical language of the honored composer.The 5 parts are: 1. Introduction: Strange Visitors (Lento misterioso), 2. Scherzo I: Interrupted cha-cha : Faith's Dance (Andantino scherzando), 3.Intermezzo: Et expecto...(Larghetto semplice), 4. Scherzo II: Devil's Dance (Allegro giocoso), 5. Finale: Flames (Feroce) There is also a programmatic scenario behind the five mouvements of the work: Strange visitors appear threatening or cheating. And suddenly Faith start to dance an interrupted cha –cha. Expectation stands in the center of the work and in the soul of our hero. Devil’s dance leads to the final test. Flames. Flames of purification or flames of hell?It has been performed by the ensemble ALEA III under Theodor Antoniou at Tsai Performance Centre, Boston University in 2007. Parts of the work have been performed by Athens Bridge Quartet at Faculty Lounge, Deree College under the project Composing the String Quartet of Deree Arts Festival in 2013.Athens Bridge Quartet recorded it ion CD (MOTIVO BQ1070) among Greek Composers Works in 2017.
$25.00 ≈
¥177.41
Smoke Gets In Your Eyes
Smoke Gets In Your Eyes
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Piano solo
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ADVANCED
#
The Platters
#
Timothy Stapay
#
Smoke Gets In Your Eyes
#
Timothy Stapay
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.1225761 By The Platters. By Jerome Kern and Otto Harbach. Arranged by Timothy Stapay. Broadway,Film/TV,Ja...
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Piano Solo - Level 5 - Digital Download SKU: A0.1225761 By The Platters. By Jerome Kern and Otto Harbach. Arranged by Timothy Stapay. Broadway,Film/TV,Jazz,Musical/Show,Singer/Songwriter,Standards. Score. 8 pages. Timothy Stapay #821814. Published by Timothy Stapay (A0.1225761). Smoke Gets In Your Eyes is arranged as played by piano artist, Liberace.This version is from the rare early album Liberace At Home. Smoke Gets in Your Eyes is a show tune written by American composer Jerome Kern and lyricist Otto Harbach for the 1933 musical Roberta. The song was sung in the Broadway show by Tamara Drasin. Its first recorded performance was by Gertrude Niesen, who recorded the song with orchestral direction from Ray Sinatra, Frank Sinatra's second cousin,[1] on October 13, 1933. On October 30, 1946, Nat King Cole recorded the song in his trio with Oscar Moore on guitar and Johnny Miller on double bass, during a live broadcast from New York City.[10] Cole performed it on television in 1957 for The Nat King Cole Show. Władziu Valentino Liberace (May 16, 1919 – February 4, 1987) was an American pianist, singer, and actor. A child prodigy born in Wisconsin to parents of Italian and Polish origin, he enjoyed a career spanning four decades of concerts, recordings, television, motion pictures, and endorsements. At the height of his fame from the 1950s to 1970s, he was the highest-paid entertainer in the world!Lyrics below:They asked me how I knewMy true love was trueI of course repliedSomething here inside cannot be deniedThey said someday you'll find all who love are blindWhen your heart's on fire,You must realize, smoke gets in your eyesSo I chaffed them and I gaily laughedTo think they could doubt my loveYet today my love has flown away,I am without my love (without my love)Now laughing friends derideTears I cannot hideSo I smile and sayWhen a lovely flame dies, smoke gets in your eyes(Smoke gets in your eyes, smoke gets in your eyes)Smoke gets in your eyes
$8.99 ≈
¥63.80
I Get A Kick Out Of You
I Get A Kick Out Of You
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Contemporary
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Cole Porter
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H
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I Get A Kick Out Of You
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H.P. Gyldfeldt
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SheetMusicPlus
String Ensemble Cello,Double Bass,Viola,Violin - Level 5 - Digital Download SKU: A0.1253494 Composed by Cole Porter. Arranged by H.P. Gyldfeldt. 20th Cen...
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String Ensemble Cello,Double Bass,Viola,Violin - Level 5 - Digital Download SKU: A0.1253494 Composed by Cole Porter. Arranged by H.P. Gyldfeldt. 20th Century. 8 pages. H.P. Gyldfeldt #847183. Published by H.P. Gyldfeldt (A0.1253494). A classical American piece of music, special arrangement for Tenor Saxophone and String Orchestra. The string parts are highly professional - can also be played by String Quartet + bass. I have used my own compositorial ideas and mainly the standard chords. - I composed this arrangement for advanced professional musicians and it is going to be performed at a special concert for Chamber Orchestra and Tenor Saxophone as soloist in a cross-over repertoire. It is definitely enjoyabel for the musicians and there is good space in the piece for the Soloist's improvisation. Â - Alternatively a part is also available for Alto Saxophone.
$200.00 ≈
¥1419.27
Christmas Duet No. 1: Here We Come A-wassailing, Variations for 4-Hand Piano
Christmas Duet No. 1: Here We Come A-wassailing, Variations for 4-Hand Piano
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Christmas
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English Christmas Carol & New
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Graham Yates
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Christmas Duet No. 1: Here We
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Graham Yates
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SheetMusicPlus
Instrumental Duet Instrumental Duet - Level 5 - Digital Download SKU: A0.887982 Composed by English Christmas Carol & New Year Song. Arranged by Graham Y...
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Instrumental Duet Instrumental Duet - Level 5 - Digital Download SKU: A0.887982 Composed by English Christmas Carol & New Year Song. Arranged by Graham Yates. Christmas,Contemporary,Holiday. Score and parts. 13 pages. Graham Yates #6133301. Published by Graham Yates (A0.887982). C. 3:30. Suitable for a teacher/advanced student(s) feature in a holiday recital, or a spotlight performance in a traditional church Christmas service. A short, wild introduction leads to a humoreske statement of the melody, unadorned. Variation 1 is a play on blocked triads and stilted rhythm. Variation 2 is a free, fantasy-like interpretation of the theme. Variation 3 is a slow ragtime that leads into Variation 4, a Charleston. The writing for each player is not particularly challenging, but putting it together will require some advanced skills, including the way primo and secondo share the keyboard. Performing Rights Organization: ASCAP.
$8.99 ≈
¥63.80
There's No Business Like Show Business
There's No Business Like Show Business
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Choral TTBB
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ADVANCED
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Contemporary
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Irving Berlin
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Christopher Fossey (for the So
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Piano Accompaniment.
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There's No Business Like Show
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Christopher Fossey
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SheetMusicPlus
Choral Choir (TTBB) - Level 5 - Digital Download SKU: A0.974402 Composed by Irving Berlin. Arranged by Christopher Fossey (for the South Wales Gay Men's ...
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Choral Choir (TTBB) - Level 5 - Digital Download SKU: A0.974402 Composed by Irving Berlin. Arranged by Christopher Fossey (for the South Wales Gay Men's Chorus). Contemporary. Octavo. 13 pages. Christopher Fossey #5994625. Published by Christopher Fossey (A0.974402). From the 1946 musical 'Annie Get Your Gun', arranged for TTBB & Piano Accompaniment.
$1.99 ≈
¥14.12
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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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 - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download 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 ≈
¥170.24
Carson Cooman: Where All the Ladders Start (2008) for trumpet (in C) and vibraphone
Carson Cooman: Where All the Ladders Start (2008) for trumpet (in C) and vibraphone
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Carson Cooman
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Carson Cooman: Where All the L
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Musik Fabrik Music Publishing
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Trumpet,Vibraphone - Level 5 - Digital Download SKU: A0.533575 Composed by Carson Cooman. Concert,Contemporary,Standa...
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Instrumental Duet Instrumental Duet,Trumpet,Vibraphone - Level 5 - Digital Download SKU: A0.533575 Composed by Carson Cooman. Concert,Contemporary,Standards. Score and parts. 6 pages. Musik Fabrik Music Publishing #3024989. Published by Musik Fabrik Music Publishing (A0.533575). Where All the Ladders Start (2008) for trumpet and vibraphone was written for and is dedicated toLouis Ranger. The work is an energetic dialogue, in which a darkly lyrical discourse is coloredthrough the interaction of the two instruments. The title is taken from a line of W. B. Yeats.
$11.95 ≈
¥84.80
There's Gotta Be Something Better Than This
There's Gotta Be Something Better Than This
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Piano, Voice
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ADVANCED
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Contemporary
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Cy Coleman
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W
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There's Gotta Be Something Bet
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Diamond S Music
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SheetMusicPlus
Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.790050 Composed by Cy Coleman. Arranged by W. Brent Sawyer. Contemporary. Score. 14 pages. Diamond...
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Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.790050 Composed by Cy Coleman. Arranged by W. Brent Sawyer. Contemporary. Score. 14 pages. Diamond S Music #3554307. Published by Diamond S Music (A0.790050). THERE’S GOTTA BE SOMETHING BETTER THAN THIS from the musical SWEET CHARITY. VOCAL TRIO with 9 Part Band accompaniment in KEY of A (original show key) - THIS IS THE PIANO/VOCAL PART ONLY. This exuberantly energetic song from the hit musical SWEET CHARITY by Cy Coleman and Dorothy Fields is arranged in a style that is true to the original Broadway version of the song. Even the dialogue that happens within the song is in the music. All the Dance breaks have been omitted, although there is a few instrumental transitions to show of your musicians. This will be an audience pleaser. The 9 Piece accompaniment is scored for: REED 1 (Flute, Piccolo, Bb Clarinet, Alto Sax), REED 2 (Clarinet, Flute, Tenor Sax), Bb Trumpet, Trombone, Violin, Piano, Bass, Drums, Percussion. Sweet Charity opened on Broadway in 1966 starring Gwen Verdon. The 1969 film starred Shirley MacLaine. The 1986 Broadway revival starred Debbie Allen and the 2005 Broadway revival starred Christina Applegate. There’s Gotta Be Something Better is a trio for three girls. The song is about 3 girls that yearn for a better job and a better than life and decide to go in search for their dreams, Other similar arrangements from DIAMOND S MUSIC available at: https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$9.99 ≈
¥70.89
There's Gotta Be Something Better Than This
There's Gotta Be Something Better Than This
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Contemporary
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Cy Coleman
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W
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There's Gotta Be Something Bet
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Diamond S Music
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SheetMusicPlus
Large Ensemble - Level 5 - Digital Download SKU: A0.790049 Composed by Cy Coleman. Arranged by W. Brent Sawyer. Contemporary. Score and parts. 89 pages. ...
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Large Ensemble - Level 5 - Digital Download SKU: A0.790049 Composed by Cy Coleman. Arranged by W. Brent Sawyer. Contemporary. Score and parts. 89 pages. Diamond S Music #3554303. Published by Diamond S Music (A0.790049). THERE’S GOTTA BE SOMETHING BETTER THAN THIS from the musical SWEET CHARITY. VOCAL TRIO with 9 Part Band accompaniment in KEY of A (original show key) - FULL SCORE & PARTS. This exuberantly energetic song from the hit musical SWEET CHARITY by Cy Coleman and Dorothy Fields is arranged in a style that is true to the original Broadway version of the song. Even the dialogue that happens within the song is in the music. All the Dance breaks have been omitted, although there is a few instrumental transitions to show of your musicians. This will be an audience pleaser. The 9 Piece accompaniment is scored for: REED 1 (Flute, Piccolo, Bb Clarinet, Alto Sax), REED 2 (Clarinet, Flute, Tenor Sax), Bb Trumpet, Trombone, Violin, Piano, Bass, Drums, Percussion. Sweet Charity opened on Broadway in 1966 starring Gwen Verdon. The 1969 film starred Shirley MacLaine. The 1986 Broadway revival starred Debbie Allen and the 2005 Broadway revival starred Christina Applegate. There’s Gotta Be Something Better is a trio for three girls. The song is about 3 girls that yearn for a better job and a better than life and decide to go in search for their dreams, Other similar arrangements from DIAMOND S MUSIC available at: https://www.sheetmusicplus.com/publishers/diamond-s-music/6940
$43.99 ≈
¥312.17
Where Or When
Where Or When
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Choral SATB
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ADVANCED
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Dion and The Belmonts
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William J
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Parts. 
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Where Or When
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William Bullock
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1016460 By Dion and The Belmonts. By Richard Rodgers. Arranged by William J. Bullock. 20th Centu...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1016460 By Dion and The Belmonts. By Richard Rodgers. Arranged by William J. Bullock. 20th Century,Broadway,Chamber,Musical/Show,Pop,Standards. Octavo. 8 pages. William Bullock #5732909. Published by William Bullock (A0.1016460). A Bullock Editions publication for SATB chorus, string quartet and piano: Where or When-Full Score & Parts. Music: Richard Rodgers. Lyrics: Lorenz Hart. Arrangement: William J. Bullock. Duration: 2:35. Arranger’s Note: Verse and AABA refrain included; rich harmonies; string quartet and piano accompany together and separately; second A section unaccompanied; program note included. Formats: Full Score & Parts (H0.782537-SC001291310); Chorus & Piano Reduction (H0.782547-SC001291310).
$2.25 ≈
¥15.97
Where Or When
Where Or When
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Choral SATB
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ADVANCED
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Dion and The Belmonts
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William J
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Parts. 
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Where Or When
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William Bullock
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1016458 By Dion and The Belmonts. By Richard Rodgers. Arranged by William J. Bullock. 20th Centu...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1016458 By Dion and The Belmonts. By Richard Rodgers. Arranged by William J. Bullock. 20th Century,Broadway,Chamber,Musical/Show,Pop,Standards. Octavo. 19 pages. William Bullock #5732899. Published by William Bullock (A0.1016458). A Bullock Editions publication for SATB chorus, string quartet and piano: Where or When-Full Score & Parts. Music: Richard Rodgers. Lyrics: Lorenz Hart. Arrangement: William J. Bullock. Duration: 2:35. Arranger’s Note: Verse and AABA refrain included; rich harmonies; string quartet and piano accompany together and separately; second A section unaccompanied; program note included. Formats: Full Score & Parts (H0.782537-SC001291310); Chorus & Piano Reduction (H0.782547-SC001291310).
$14.99 ≈
¥106.37
(There's No Place Like) Home For The Holidays
(There's No Place Like) Home For The Holidays
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Piano solo
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ADVANCED
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Jazz
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Perry Como
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Foo Wei Fung
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(There's No Place Like) Home F
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Leosteh
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.991482 By Perry Como. By Robert Allen. Arranged by Foo Wei Fung. Jazz. Score. 3 pages. Leosteh #3225809. ...
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Piano Solo - Level 5 - Digital Download SKU: A0.991482 By Perry Como. By Robert Allen. Arranged by Foo Wei Fung. Jazz. Score. 3 pages. Leosteh #3225809. Published by Leosteh (A0.991482). 2017 Holiday Contest EntryThis is a rather lively arrangement filled with bell-like music background together with complex harmony. Great piece for recital as well as for anyone who are looking for a challenging piece.
$4.99 ≈
¥35.41
Thérèse Brenet: Rondel for SATB chorus, orchestra and organ, score
Thérèse Brenet: Rondel for SATB chorus, orchestra and organ, score
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Orchestra
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ADVANCED
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Contemporary
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Therese Brenet
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Thérèse Brenet: Rondel for S
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.533844 Composed by Therese Brenet. Contemporary. Score and parts. 13 pages. Musik Fabrik Music Publis...
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Full Orchestra - Level 5 - Digital Download SKU: A0.533844 Composed by Therese Brenet. Contemporary. Score and parts. 13 pages. Musik Fabrik Music Publishing #3053313. Published by Musik Fabrik Music Publishing (A0.533844). A setting of a poem in French by Tristan Corbières (1845-1875) for SATB chorus, and orchestra. The instrumentation is: 2220/2000/timp/3perc/hp/organ/strings. The work may be performed alone or together with the composer's two other owrks for chorus and orchestra (Ciels and Le Bois Amical). This is the score only. The orchestral parts are on rental from the publisher. The chorus part, which contains a piano reduction, is available for sale.RonelIl fait noir, enfant, voleur d'étincelles !Il n'est plus de nuits, il n'est plus de jours ;Dors... en attendant venir toutes cellesQui disaient : Jamais ! Qui disaient : Toujours !Entends-tu leurs pas ?... Ils ne sont pas lourds :Oh ! les pieds légers ! – l'Amour a des ailes...Il fait noir, enfant, voleur d'étincelles !Entends-tu leurs voix ?... Les caveaux sont sourds.Dors : Il pèse peu, ton faix d'immortelles :Ils ne viendront pas, tes amis les ours,Jeter leur pavé sur tes demoiselles...Il fait noir, enfant, voleur d'étincelles !English translationIt is Dark, child, thief of sparks!There are no longer nights, There are no longer daysSleep..waiting for those who say never, who say always, to arriveDo you hear their footsteps? They are not heavy.Oh, the light steps! Love has wings...It is Dark, child, thief of sparks!Do you hear their voices? The tombs are silent.Sleep, it weighs little, your weight of dried flowersThey will not come, your friends the bears,to throw their cobblestone on your firefliesIt is Dark, child, thief of sparks!Translation © 2008 by Paul Wehage
$16.95 ≈
¥120.28
Thérèse Brenet: Rondel for SATB chorus, orchestra and organ,chorus part
Thérèse Brenet: Rondel for SATB chorus, orchestra and organ,chorus part
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Orchestra
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ADVANCED
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Contemporary
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Therese Brenet
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Thérèse Brenet: Rondel for S
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.533845 Composed by Therese Brenet. Contemporary. Score and parts. 12 pages. Musik Fabrik Music Publis...
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Full Orchestra - Level 5 - Digital Download SKU: A0.533845 Composed by Therese Brenet. Contemporary. Score and parts. 12 pages. Musik Fabrik Music Publishing #3053315. Published by Musik Fabrik Music Publishing (A0.533845). A setting of a poem in French by Tristan Corbières (1845-1875) for SATB chorus, and orchestra. The instrumentation is: 2220/2000/timp/3perc/hp/organ/strings. The work may be performed alone or together with the composer's two other owrks for chorus and orchestra (Ciels and Le Bois Amical). This is the chorus part, which contains a piano reduction, only. The orchestral parts are on rental from the publisher. The score, is available for sale. Ronel Il fait noir, enfant, voleur d'étincelles ! Il n'est plus de nuits, il n'est plus de jours ; Dors... en attendant venir toutes celles Qui disaient : Jamais ! Qui disaient : Toujours ! Entends-tu leurs pas ?... Ils ne sont pas lourds : Oh ! les pieds légers ! – l'Amour a des ailes... Il fait noir, enfant, voleur d'étincelles ! Entends-tu leurs voix ?... Les caveaux sont sourds. Dors : Il pèse peu, ton faix d'immortelles : Ils ne viendront pas, tes amis les ours, Jeter leur pavé sur tes demoiselles... Il fait noir, enfant, voleur d'étincelles ! English translation It is Dark, child, thief of sparks! There are no longer nights, There are no longer days Sleep..waiting for those who say never, who say always, to arrive Do you hear their footsteps? They are not heavy. Oh, the light steps! Love has wings... It is Dark, child, thief of sparks! Do you hear their voices? The tombs are silent. Sleep, it weighs little, your weight of dried flowers They will not come, your friends the bears, to throw their cobblestone on your fireflies It is Dark, child, thief of sparks! Translation © 2008 by Paul Wehage
$2.50 ≈
¥17.74
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