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You've selected:
Alone in the World
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701
The First Vision Guitar Minus Vocal
The First Vision Guitar Minus Vocal
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Steven H
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The First Vision Guitar Minus
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Boothe Publishing
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SheetMusicPlus
Guitar - Digital Download SKU: A0.1069964 Composed by Steven H. Boothe. Children,Pop,Sacred. Accompaniment. Duration 215. Boothe Publishing #4633683. Pub...
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Guitar - Digital Download SKU: A0.1069964 Composed by Steven H. Boothe. Children,Pop,Sacred. Accompaniment. Duration 215. Boothe Publishing #4633683. Published by Boothe Publishing (A0.1069964). Fourteen year old Joseph Smith went into a grove of trees to pray and ask God for help to know which church was true, and which one he should join. God and His son Jesus Christ appeared to him and spoke to him face to face. With the appearance of God and His son to the boy Joseph Smith, there was once again a prophet on the earth. This event came to be called the first vision. This vision proved to Joseph Smith that God is not dead. God and His son Jesus Christ are alive and love us today. They have not left us alone here in the world to work out our own salvation. The greatest teachers and preachers of our times cannot save us for they are subject to death. Only Jesus Christ could and did break the bands of death. God talks to us today through His prophets. He does not speak to us through those who say He is gone and has left them in charge. The only way to find truth about God is to study His doctrine and then talk with Him. Ask Him if what you are learning is true. With 4,300 Christian religions on the earth today, we can know through revelation from God which is His true church. There can be only one. God told Joseph that He had a great work for him to do. God sent an angel who revealed to Joseph plates of gold. These plates of Gold were records kept by Israelite prophets in ancient America. God brought them to this land of promise before the Jews were carried away captive into Babylon. I know this is true. You can read the Book of Mormon. You can ask God for yourself if it is true. Then you too can know, for God will answer your prayer.
$1.99
The First Vision TAB
The First Vision TAB
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Guitar notes and tablatures
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INTERMEDIATE
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Sacred music
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Steven H
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The First Vision TAB
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Boothe Publishing
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SheetMusicPlus
Guitar - Level 3 - Digital Download SKU: A0.984011 Composed by Steven H. Boothe. Christian,Sacred. Guitar Tab. 13 pages. Boothe Publishing #4360937. Publ...
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Guitar - Level 3 - Digital Download SKU: A0.984011 Composed by Steven H. Boothe. Christian,Sacred. Guitar Tab. 13 pages. Boothe Publishing #4360937. Published by Boothe Publishing (A0.984011). Fourteen year old Joseph Smith went into a grove of trees to pray and ask God for help to know which church was true, and which one he should join. God and His son Jesus Christ appeared to him and spoke to him face to face. With the appearance of God and His son to the boy Joseph Smith, there was once again a prophet on the earth. This event came to be called the first vision. This vision proved to Joseph Smith that God is not dead. God and His son Jesus Christ are alive and love us today. They have not left us alone here in the world to work out our own salvation. The greatest teachers and preachers of our times cannot save us for they are subject to death. Only Jesus Christ could and did break the bands of death. God talks to us today through His prophets. He does not speak to us through those who say He is gone and has left them in charge. The only way to find truth about God is to study His doctrine and then talk with Him. Ask Him if what you are learning is true. With 4,300 Christian religions on the earth today, we can know through revelation from God which is His true church. There can be only one. God told Joseph that He had a great work for him to do. God sent an angel who revealed to Joseph plates of gold. These plates of Gold were records kept by Israelite prophets in ancient America. God brought them to this land of promise before the Jews were carried away captive into Babylon. I know this is true. You can read the Book of Mormon. You can ask God for yourself if it is true. Then you too can know, for God will answer your prayer.
$3.99
The First Vision Piano Minus Vocal
The First Vision Piano Minus Vocal
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Piano solo
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Sacred music
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Steven H
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Ashley Ivers
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The First Vision Piano Minus V
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Boothe Publishing
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SheetMusicPlus
Piano - Digital Download SKU: A0.1069995 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Christian,Sacred. Accompaniment. Duration 231. Boothe Pu...
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Piano - Digital Download SKU: A0.1069995 Composed by Steven H. Boothe. Arranged by Ashley Ivers. Christian,Sacred. Accompaniment. Duration 231. Boothe Publishing #5984125. Published by Boothe Publishing (A0.1069995). Fourteen year old Joseph Smith went into a grove of trees to pray and ask God for help to know which church was true, and which one he should join. God and His son Jesus Christ appeared to him and spoke to him face to face. With the appearance of God and His son to the boy Joseph Smith, there was once again a prophet on the earth. This event came to be called the first vision. This vision proved to Joseph Smith that God is not dead. God and His son Jesus Christ are alive and love us today. They have not left us alone here in the world to work out our own salvation. The greatest teachers and preachers of our times cannot save us for they are subject to death. Only Jesus Christ could and did break the bands of death. God talks to us today through His prophets. He does not speak to us through those who say He is gone and has left them in charge. The only way to find truth about God is to study His doctrine and then talk with Him. Ask Him if what you are learning is true. With 4,300 Christian religions on the earth today, we can know through revelation from God which is His true church. There can be only one. God told Joseph that He had a great work for him to do. God sent an angel who revealed to Joseph plates of gold. These plates of Gold were records kept by Israelite prophets in ancient America. God brought them to this land of promise before the Jews were carried away captive into Babylon. I know this is true. You can read the Book of Mormon. You can ask God for yourself if it is true. Then you too can know, for God will answer your prayer.
$1.99
THE LAST MY FLOWER (THE WOLF AND THE WITCH)
THE LAST MY FLOWER (THE WOLF AND THE WITCH)
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Piano solo
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Contemporary
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Monica Bergo
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THE LAST MY FLOWER
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Moni Bergo
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SheetMusicPlus
Piano Solo - Digital Download SKU: A0.1012709 Composed by Monica Bergo. Contemporary. Score. 13 pages. Moni Bergo #5742973. Published by Moni Bergo (A0.1...
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Piano Solo - Digital Download SKU: A0.1012709 Composed by Monica Bergo. Contemporary. Score. 13 pages. Moni Bergo #5742973. Published by Moni Bergo (A0.1012709). Music and song composed by meTHE LAST MY FLOWER (the wolf and the witch) I look at my last flower It loses its scentand I do not know what to do I protect you with warmthof this other story I have to tell creatures alone and desperate many scars heal a witch and a wolf do not know yet that their destinies are to merge and starts this magical storysweet as ancient fable in a forest with no place and no age out of touch and the time is stopped and does not move a breath and the heart, explodes and skip a beat and look you recognize like not having never lost and the wolf that is injured a white rose in red has turned He is bleeding along with drops of pain his red eyes burning with love and the witch instead hides because she isn't beautiful and it is not important nobody in the world has never belonged and a caress he never touched she care and caresses the soul he looks at her and his anger dominates and one year only lasts a moment lost in eternity and the wolf tells tales and the witch makes magic potions and exchange promises useless that the night guard and she will dance will dance naked and the wolf with his heart on his sleevelying by the fire that lights up, so free unobstructed and are reflected in the magic lake and do not feel that cold shiver... not last, do not you feel it too?cold around us Abracadabra !! from caterpillar to butterfly Alakazam !! and I too am beautiful do not you wonder how and why I started to talk to me snow fallsbut we are in August and there is nothing that you find a place this my music speaks for it self this is the strangest tale that is I stop here It will end well I can not tell the end of a love that is not written yet I stop here It will end well in a vacuum and the absence these days my silence and inconstancy in your feeling sthe flower dies already go wolf go stop thinking about her from your pack you will need to return and then runs away witch will if you want to transform changes role an actress who artand you will have new flowers day step into the dark caverns of regret Mix them with potions and transform everything into tears like a cat in the night I try the food in the trashno sun, no light no god here that help me body and spirit dentedas a glass stuckinside my poor heart the memory of a love He never really lived so alive in the mind is my animal instinct that makes me ache while another dream diesthe witch in the lake you slidethe water lapping against the planin his eyes the wolf that is now already far a fairy tale real or invented in between my hidden truth all my stories strange and weird over this skin are now tattooed I watc.
$5.00
Alone in the World
Alone in the World
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Choral SATB
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C
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Alone in the World
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice (solo and SATB chorus) - Digital Download SKU: LV.4087 Composed by C.A. White. Homeless persons, Poor persons, Stairs & stairways, Nostal...
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Piano and voice (solo and SATB chorus) - Digital Download SKU: LV.4087 Composed by C.A. White. Homeless persons, Poor persons, Stairs & stairways, Nostalgia, Mothers & children, Blizzards, Distress. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.4087). Alone in the World. Poetry by Dexter Smith. Music by C.A. White. Published 1870 by White, Smith & Perry, 298 & 300 Washington St. in Boston. Composition of strophic with chorus with piano and voice (solo and satb chorus) instrumentation. Subject headings for this piece include Homeless persons, Poor persons, Stairs & stairways, Nostalgia, Mothers & children, Blizzards, Distress. First line reads Alone in the world, all alone I roam, I am begging for shelter and bread.. 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
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
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2 Pianos, 4 hands
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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CURVE, Between the Octaves - A
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074...
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published by Jenni Roditi (A0.1497852). Piano Duo 2 pianos/4 hands. Curve, Between the Octaves points to a fugal past, where lines enter and build in stately flow. It invites lines to intermingle, without assuming they will all arrive somewhere, or at the same time. A certain intensity builds, then scales, both up and down, free themselves from the discussion of the interleaving lines. The chromaticism suggests curving between harmonies, and is nearly always ambivalent. An assertive chordal climax intervenes to shake off the tensions, yet this peels away into further curvatures that twist and twirl, until a final resting point agrees to present itself. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
Tribute to the Trail of Tears
Tribute to the Trail of Tears
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Choral SATB
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ADVANCED
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Barron Brothers
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iyo he, iyo he
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Tribute to the Trail of Tears
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Barron Brothers
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SheetMusicPlus
Choral Alto Voice,Bass Voice,Soprano voice,Tenor Voice (SATB) - Level 5 - Interactive Download SKU: A0.726326 Composed by Barron Brothers. This edition: ...
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Choral Alto Voice,Bass Voice,Soprano voice,Tenor Voice (SATB) - Level 5 - Interactive Download SKU: A0.726326 Composed by Barron Brothers. This edition: Interactive Download. Folk,World. Octavo. 25 pages. Duration 281. Barron Brothers #6JvK5OaFLfcELYSz4fsbms. Published by Barron Brothers (A0.726326). Key: Ab major.**NJMEA Finalist Composition** Sun Tracks The track of the Sun across the sky leaves its shining, eternal message Illuminating, strengthening, warming... all of us who are here It shows us we are not alone. We are not alone. We are yet alive. And this fire, our fire shall not die! *- Atoni* Iyo he, iyo he; iyo he, iyo he; He, he, he, iyo he. - *Choctaw war dance* ...... Tribute to the Trail of Tears is an original SATB choir song commemorating my Choctaw heritage. When I wrote this song, I wanted to look at the Trail of Tears from the Choctaws' eyes. I did this by emphasizing the contrast between their anger with the shouting taken from a Choctaw war chant and hope with a Choctaw Sun Prayer (the sun is an important figure of hope in Choctaw spirituality), their English traditions forced upon them and their true Choctaw nature, and the betrayal of a government that was supposed to protect them. This song is designed to be slow and relaxed (~70bpm for the first part and ~85bpm for the piu mosso), with the bends representing relaxed glissandos in the voice. The last three chords are meant to be sensitive and should be taken very slowly. Keep in mind that this piece should not only be meaningful but convey the emotions to spread the Native awareness that is so direly needed in America.
$3.75
The Children's Journey (Five Piano Pieces from The Little Lyric Suite)
The Children's Journey (Five Piano Pieces from The Little Lyric Suite)
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Piano solo
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INTERMEDIATE/ADVANCED
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Rocco Di Pietro
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The Children's Journey
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Rocco Di Pietro
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1290932 Composed by Rocco Di Pietro. 21st Century,Chamber,Classical,Contemporary. Score. 14 pages. Rocco ...
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Piano Solo - Level 4 - Digital Download SKU: A0.1290932 Composed by Rocco Di Pietro. 21st Century,Chamber,Classical,Contemporary. Score. 14 pages. Rocco Di Pietro #881617. Published by Rocco Di Pietro (A0.1290932). “The emotion it seems roused in children when they are left alone in the darkis not dread, but desire. An overwhelming and fearful longing for the one whocan bring them solace for an apparent loss of self in the absence of the visible world.The light becomes both a beacon and a being, a summons and a response, illuminatingthe darkness that is a prelude to sleep, which is next door to the next world.â€~ J. Lord ~I. The PlaygroundThe child’s journey starts in a toxic playground at home.II. Roaming Among the CuckoosThe child roams among cuckoos, who make their nests in other creatures’homes. He knows this well, with his plethora of step dads.III. First Loss, Inner FlightThe child experiences his first loss, and goes into inner flight.IV. A Curious StoryThe actual awaited long journey of the child begins. A very curious storyindeed. V. Hospitality Dream (About Strange Lands and Peoples)At last, the child arrives with his dream of hospitality among strange landsand peoples, and is met with a rude, if not deadly, awakening.
$12.00
May The Lord Be With You / Que el Señor esté contigo
May The Lord Be With You / Que el Señor esté contigo
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Piano, Vocal and Guitar
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Sacred music
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Shaun Parry
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May The Lord Be With You / Que
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MusicforMillions
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Digital Download SKU: A0.935515 Composed by Shaun Parry. Sacred. Score. 1 pages. MusicforMillions #5754989. Published by Music...
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Guitar,Piano,Vocal,Voice - Digital Download SKU: A0.935515 Composed by Shaun Parry. Sacred. Score. 1 pages. MusicforMillions #5754989. Published by MusicforMillions (A0.935515). THIS IS AN ORIGINAL (simple) SONG I WROTE FOR MY MOM AND SISTER To be clear, it is a prayer written in musical form. I guess that makes it a psalm. A few nights ago I was feeling the pain of so many people around the globe who are suffering due to the pandemic. I was inspired to sit down and write an simple song of comfort for them-for us. The very same evening I started writing the song, unbeknownst to me, my sister was being taken to the hospital where she collapsed of heart failure and was life-flighted to the nearest cardiovascular facility.They put her on life support (ECMO and ventilator) to let her heart and lungs rest. Two days later, due to complications with circulation in her leg she had to be rushed into emergency surgery to pull the catheter from the artery leading to her heart. This required taking her off of life support four days earlier than they had planned. We were informed she may not make it. Thanks to thousands of people praying for her, and her own indomitable spirit, she pulled through-but not without more complications.A fever kicked in and lack of circulation in her other leg caused even more concern. Her heart and body were suffering greatly. As we prayed (and thousands of you from around the world prayed with us) I kept massaging and nuancing the exact melody line I wanted, at the same time interweaving various lyrics to intuit what felt right. I wanted this to be a song anyone could sing for their beloved family member or friend who was struggling. Every note, every syllable had to land just right-as if it was meant to be.Through all this my mother was going through her own bit of personal anguish. We were basically waiting for my sister to die. Due to COVID regulations nobody, not even family, could visit her in ICU. My mother bought a plane ticket... just in case. We hoped beyond hope that, If she died, she would not die alone. I wanted to finish this song by Mother's Day to share with my mother and my dear struggling sister who is also a mother of 5. I finished it and sang it through tears on Mother's Day. I have many friends show speak Spanish who are going through very difficult times due to COVID-19 and the subsequent quarantine. The second time through is a carefully crafted Spanish translation. I hope to hear people singing this far and wide with, to and for each other.
$1.99
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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Contemporary
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dislocation I mean a degree of
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Jenni Roditi
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RITUALISE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. Published by Jenni Roditi (A0.1497861). Piano Duo 2 pianos/4 hands. Ritualise, Between the Octaves finally found its identity with the word ritualise. It began as announce, became pronounce, then declare and went as far a pontificate for a title. At that point I realised I was mocking my own music and needed to take it more seriously. Ritualise brought out a meaning to the music that I hadn’t wanted to admit to. It is quite folk-like, in a primal and entrancing kind of way. I can imagine a communal dance for some ceremonial purpose in this music with both public and private elements.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
IGNITE, Between the Octaves - A Piano Duo Suite (Movement 7 of 7)
IGNITE, Between the Octaves - A Piano Duo Suite (Movement 7 of 7)
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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IGNITE, Between the Octaves -
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074279. Published by Jenni Roditi (A0.1497866). Piano Duo - 2 pianos/4 hands. Ignite, Between the Octaves began with the impetus of static ‘pulsation’ (its original title) on repeated octaves. The piece is a fizzing dash of nodal vortices, small, then larger, spinning and tumbling and all the way to the finish line. This piece brings the complete suite of 7 pieces to a dynamic close, with a sense of ignition to new beginnings. The music echoes the opening F octaves of Initiate (movement 1). Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
People Need The Lord
People Need The Lord
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Gospel/Spiritual
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Sacred music
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Steve Green
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Peet du Toit
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People Need The Lord
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Peet du Toit
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SheetMusicPlus
Brass Ensemble Euphonium,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.802608 By Steve Green. By Greg Nelson and Phill McHugh. Arranged by Peet ...
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Brass Ensemble Euphonium,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.802608 By Steve Green. By Greg Nelson and Phill McHugh. Arranged by Peet du Toit. Christian,Gospel. Score and parts. 11 pages. Peet du Toit #5983089. Published by Peet du Toit (A0.802608). Steve Green is the son of missionaries. It therefore seemed natural that this song written by Greg Nelson and Phil McHugh which pictures hungry, hurting people who are unaware of the Christian message, would resonate with him. However, Green had a life-changing experience when he realized he'd been living a fake and phoney life, where he'd been doing the right things but with the wrong motives. He'd therefore understood his desperate need for a Saviour and ran to Jesus for what He alone can provide. As a consequence, when this song was pitched to him, Green had just come through a pretty significant life turn-around. The singer recalled to CCM Magazine presents 100 Greatest Songs In Christian Music: It resonated for two reasons - first, because my parents had given their lives to evangelize, and their love for the people they were serving around the world was motivated by Christ's love for them; so that was definitely one of the reasons why I gravitated to the song. The other reason was that for the for the first time, I suppose, I was realizing that it isn't just those who never heard about the Lord who needed him. I knew that I was surrounded by people just like me who were living kind of an external, performance-based Christianity, but they had no light. I started thinking of us as the 'elder brothers' - those who never ran away from home but were just as lost as the prodigal.Watch Steve Green singing this heartfelt song on YouTube at https://www.youtube.com/watch?v=Nbxvc6eeXso .I found this music and lyrics so inspiring and beautiful, I just had to translate it to brass instruments. Enjoy!
$18.00
Love Alone Shall Guide Us
Love Alone Shall Guide Us
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Choral SATB
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INTERMEDIATE/ADVANCED
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Dan Meyer
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Love Alone Shall Guide Us
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Dan Meyer
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1148486 Composed by Dan Meyer. A Cappella,Chamber,Historic,Wedding. Octavo. 8 pages. Dan Meyer #...
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1148486 Composed by Dan Meyer. A Cappella,Chamber,Historic,Wedding. Octavo. 8 pages. Dan Meyer #748647. Published by Dan Meyer (A0.1148486). Love Alone Shall Guide Us is an a cappella, SATB piece with no divisi. The words were written in 1846 and are particularly interesting and poignant because they were written TO Edgar Allan Poe by his wife Virginia Clemm Poe (1822-1847). He never wrote a poem specifically for her, but she wrote this acrostic poem for him shortly before the end of her short and tragic life. Here are the lyrics: Ever with thee I wish to roam — Dearest my life is thine. Give me a cottage for my home And a rich old cypress vine, Removed from the world with its sin and care And the tattling of many tongues. Love alone shall guide us when we are there — Love shall heal my weakened lungs; And Oh, the tranquil hours we’ll spend, Never wishing that others may see! Perfect ease we’ll enjoy, without thinking to lend Ourselves to the world and its glee — Ever peaceful and blissful we’ll be. Virginia Poe mentions her illness when it states Love shall heal my weakened lungs because it was tuberculosis that took her life less than a year after writing these words. For modern performers, I particularly like the line Never wishing other may see; in this social media era, this is really a foreign concept!
$2.10
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
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2 Pianos, 4 hands
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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SURRENDER, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074...
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published by Jenni Roditi (A0.1497843). Piano Duo - 2 pianos, 4 hands. Surrender, Between the Octaves was the piece that was composed first in the suite. It exposes a simple call to return to the beginning, to return to a pure act of listening. This note..ah, now that note.. oh. This is how the piece was written - one note at a time. Listening from within a space (its original title) of resonance, of edges and meetings, of disappearances and repetitions that reflect on this gentle body of notes. There is a slow hearing that may, or may not create a tone-journey.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
Oneness in This World (clarinet, cello, piano)
Oneness in This World (clarinet, cello, piano)
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Jeffrey Hoover
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Oneness in This World
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Musicart Publications
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SheetMusicPlus
Instrumental Duet,Piano Cello,Clarinet,Instrumental Duet,Piano - Level 4 - Digital Download SKU: A0.971656 Composed by Jeffrey Hoover. 20th Century,Conte...
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Instrumental Duet,Piano Cello,Clarinet,Instrumental Duet,Piano - Level 4 - Digital Download SKU: A0.971656 Composed by Jeffrey Hoover. 20th Century,Contemporary,Spiritual. Score and parts. 47 pages. Musicart Publications #5719085. Published by Musicart Publications (A0.971656). Set in two movements, the music of Oneness in This World represents two things necessary for humanity to move together: Unity and Joy.In the first movement, the music evolves from tension and musical discord to unity and harmony. While much of the drama is heard through the interaction of the clarinet and cello, the piano provides a key factor throughout the second part of the first movement through foundational chaconne variations. As the harmonic progression repeats, the clarinet and cello become more aligned in their music yet maintaining a sense of individuality. Without unity and informed agreement, a society cannot truly benefit its people. Unity is strongest within diversity, contributing to growth, and moving towards a common goal to benefit all.In the second movement, all three musicians share equally in the production of the state of joy. The varied tone colors of the instruments, shifting meters, and dancing music all provide energy and emotions suggesting joy. Joy is a certainty of the goodness of life, in spite of sorrows or pain or even tragedy. Joy gives us wings to transcend our situation, opens us to our potential, and helps us become who we are to be. Joy comes from faith and belief of value and purpose for our life and its beauty.As with other musical compositions of mine, there are two paintings– a diptych –titled Unity and Joy which I created to visually interpret the music. –Jeffrey HooverThis edition is set to print correct page turns, back-to-back.Jeffrey Hoover's work– music ranging from soloist to symphony orchestra –has received recognition through the prestigious Trieste prize, the SMP/Universal Edition composition award for contemporary music, awards from Mu Phi Epsilon, the Lancaster Fine Arts Festival, the L. Russolo competition, grants, publications fellowships, and more than 25 commissions. He is a member of the ACME roster of Mu Phi Epsilon, recognized for distinguished achievement as a composer.One unique aspect of Hoover’s work is when he combines composition with his paintings, creating synergetic art that intrigues and captivate audiences and performers alike. His paintings are seen in exhibitions and in concerts where his paintings are projected while musicians perform his music. Whether making interdisciplinary works, or traditional stand-alone sonic or visual art, Hoover shapes his work through inner vision and practical experience. Jeffrey Hoover’s background as a performer includes both classical and jazz music, as saxophonist and conductor. His book The Arts and Society: Making New Worlds is published by Kendall Hunt Publishing.Jeffrey Hoover was born on September 11, 1959, in Anderson, Indiana. He holds a Ph.D. in Fine Arts (Composition and Interdisciplinary Fine Arts) from Texas Tech University, as well as a M.M. and Bch.Sc. from Ball State University. His career in higher education has included both music faculty and arts administrative appointments.For questions about this music, how he combines his music with his paintings or other inquiries, please visit his website or contact the composer directly:jeffreyhooverart@gmail.comhttps://jeffreyhooverart.wixsite.com/mysite
$21.95
ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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ENCIRCLE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. Published by Jenni Roditi (A0.1497857). Piano Duo 2 pianos/4 hands. Encircle, Between the Octaves, originally called rotate as its impetus was to generate a steadily rotating music. Encircle was later chosen as a more evocative word. The harmony surprised me as it suggested shifts and colourations that I would not have expected to conjure. Two upper rotating parts with melodic narrative are supported by bass and baritone lower parts. The final section adds a dance-like short form to end what could otherwise have run and run and run. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
INITIATE, Between the Octaves - A Piano Duo Suite (Movement 1 of 7)
INITIATE, Between the Octaves - A Piano Duo Suite (Movement 1 of 7)
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2 Pianos, 4 hands
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ADVANCED
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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INITIATE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 5 - Digital Download SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 5 - Digital Download SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. Published by Jenni Roditi (A0.1497831). For Piano Duo - 2 pianos/4hands. Initiate, Between the Octaves, the opening piece in the suite, is a sparky, rhythmic and post-modern hoquet, of some wit and almost perpetual bounciness. A ricocheting of quickly contrasting dynamics with occasional switches to distant moments. Three big plunges into legato emotional flow, release the popping bubbles of the fiery staccato material. A short final chorale settles and grounds the quick cuts, swoops and build ups that have propelled the whole piece. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7)
THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7)
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2 Pianos, 4 hands
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Classical
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dislocation I mean a degree of
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Jenni Roditi
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THREAD, Between the Octaves A
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074...
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Instrumental Duet,Keyboard - Digital Download SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published by Jenni Roditi (A0.1497847). Piano Duo 2 pianos/4 hands. Thread, Between the Octaves grew out of the call the make a single line weave between the octaves. Line was the original title. Thread, as a word, brings more texture to the title and describes what the line is actually doing, threading around the harmony. A secondary thread is heard after a while, echoing and shading the primary line, with its own treble weave. It was like going back to the beginning of making melody again.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
I'll Walk Alone
I'll Walk Alone
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Dinah Shore
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F
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I'll Walk Alone
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Sweetwater Brass Press
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SheetMusicPlus
Horn,Tenor Saxophone,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1351942 By Dinah Shore. By Jule Styne and Sammy Cahn. Arranged by F. Lesl...
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Horn,Tenor Saxophone,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1351942 By Dinah Shore. By Jule Styne and Sammy Cahn. Arranged by F. Leslie Smith. 20th Century,Jazz,Pop,Standards. 20 pages. Sweetwater Brass Press #936564. Published by Sweetwater Brass Press (A0.1351942). “I’ll Walk Alone†is a World War II era ballad whose poignant melody sounds as though it could have been written just yesterday.  First introduced in the 1944 movie Follow the Boys, it was hugely popular and has since been recorded by numerous artists.   Universal Pictures produced Follow the Boys in an effort to help boost morale for both overseas military and folks on the home front.  Despite being filled with stars and songs, critics tended to dismiss it as hokey and trite.  The exception was a scene in which Dinah Shore sang “I’ll Walk Alone.† Nominated for the Academy Award for Best Original Song, Ms. Shore’s follow-up Victor recording spent 20 weeks on the top ten Best Selling Records chart.  The song was used yet again in 1952 for another motion picture, With a Song in My Heart, the Jane Froman biographical film, and the melody eventually developed as a standard, particularly in the world of jazz.   Sammy Cahn’s lyrics for this song express the feelings and the promise of a woman who has been separated from her lover by the war.  She pledges that she will be true, that she will wait for him, and that “'till you're walking beside me, I'll walk alone.† Jule Styne’s melody is both plaintiff and simple. an eight-measure phrase, a repeat of the phrase, an eight-measure second phrase, then another repeat of the first phrase.   For this arrangement, the suggested tempo is a relatively slow, blues-like 72 bpm.  It features a tenor saxophone as lead and solo instrument accompanied by brass quintet.  A four-measure introduction opens the piece with Trumpet 1 playing melody and the other four brass providing background.  Following the intro, Tenor Sax plays its first three notes alone; the other instruments begin their accompaniment on measure 6.  Trumpet 1 is tacit during measures 6-11 but begins adding counterpoint in measure 12.     In performing this arrangement, brass instruments should ensure that, when the Sax plays, their volume as a group is under (i.e., softer than) the melody.  The exception begins at measure 36, when a crescendo leads to the quintet playing fortissimo.  During this section, the Tenor Sax plays a couple of responses.  At measures 43 a decrescendo lowers the brass volume back to its original soft accompaniment level.  The piece ends with brass recapping the introduction and Sax providing a final statement.   This piece, completed in 2023, consists of 57 measures, a little over three minutes in length.  Written in the key of G major, Tuba’s lowest note is a G below the staff.  Other than that, all notes are well within the normal playing range of each instrument.   The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge.  He would like to receive your suggestions, comments, corrections and criticisms.  Contact him at lessmith61@bellsouth.net.  For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.
$12.99
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Alone in the World
