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So You Would Come
Not classified 287

Piano & keyboards
Piano, Voice 70
Piano solo 45
Piano, Vocal and Guitar 6
Organ 5
Easy Piano 4

C Instruments 3

Piano Quintet: piano, 2 violins, viola, cello 1
Piano Quartet: piano, 2 violins, cello 1
1 Piano, 4 hands 1
Piano Quartet: piano, violin, viola, cello 1

+ 5 instrumentations

- Retract

Guitars
Guitar 6
Guitar notes and tablatures 4
2 Guitars (duet) 1
Bass guitar 1
Melody line, (Lyrics) and Chords 1

Voice
Choral SATB 30
Choral 3-part 5
Choral Unison 2
Vocal duet, Piano 1
Choral SSAA 1

Choral 2-part 1
Choral TTBB 1
Soprano voice, Piano 1
Mezzo-Soprano voice, Piano 1

+ 4 instrumentations

- Retract

Woodwind
Saxophone ensemble 52
Saxophone Quintet: 5 Saxophones 28
Clarinet Ensemble 16
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 14
Flute ensemble 6

Flute Quintet : 5 flutes 5
Clarinet Quartet: 4 clarinets 4
Flute 2
Oboe, Piano (duet) 2
Alto Saxophone and Piano 2
Flute and Piano 2
3 Clarinets (trio) 1
Flute, Oboe, Clarinet, Bassoon 1
Alto Saxophone 1
Clarinet, Bassoon (duet) 1
2 Flutes (duet) 1
Saxophone 1
2 Clarinets (duet) 1

+ 13 instrumentations

- Retract

Woodbrass
Brass quartet : 2 trumpets, trombone, tuba 30
Brass Quintet: 2 trumpets, horn, trombone, tuba 19
Trombone ensemble 15
Brass Quartet 10
Brass Quartet: 2 trumpets, horn, trombone 10

Trumpet ensemble 9
Horn Ensemble 4
Trumpet 2
Tuba 2
French horn 1
Trombone 1
Trombone and Piano 1
Trumpet, Piano 1
Tuba ensemble 1

+ 9 instrumentations

- Retract

Strings
Violin and Piano 7
String Quartet: 2 violins, viola, cello 7
Viola ensemble 6
Violin ensemble 6
String Quintet: 2 violins, viola, cello, bass 3

Violin 3
String Quintet: 2 violins, 2 violas, cello 2
Harp and Piano 2
Cello, Piano 2
2 Violins (duet) 2
Harp 1
String Trio: 2 violins, cello 1
Violin, Cello (duet) 1
Viola, Piano 1
Cello Ensemble 1
Cello 1
String Trio: violin, viola, cello 1

+ 12 instrumentations

- Retract

Percussion & orchestra
String Orchestra 8
Orchestra 8
Concert band 6
Brass ensemble 3
Handbells 2

Jazz Ensemble 2
Vibraphone 1
Chamber Orchestra 1
Jazz combo 1

+ 4 instrumentations

- Retract

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So You Would Come

C Instruments

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WWJD (If He Was You)

WWJD (If He Was You) #C Instruments #INTERMEDIATE #Sacred music #Les Blachut #Les Blachut #WWJD #Les Blachut #SheetMusicPlus

C Instrument - Level 3 - Digital Download SKU: A0.1283052 By Les Blachut. By Les Blachut. Arranged by Les Blachut. Jazz,Latin,Multicultural,Praise & Wors...(+)

C Instrument - Level 3 - Digital Download SKU: A0.1283052 By Les Blachut. By Les Blachut. Arranged by Les Blachut. Jazz,Latin,Multicultural,Praise & Worship,Religious,World. Lead Sheet / Fake Book. 1 pages. Les Blachut #874343. Published by Les Blachut (A0.1283052). Ref. WWJD means What Would Jesus Do WWJD If He was youWWJD What Would Jesus Do WWJD If He was youÂ 1. The death and sin are gone, Iâ€™m free like flying birdsTo appreciate your saving grace, I ask myself these wordsÂ 2. Whatever is to come, and what is here to stayI face with dignity because, I follow in your wayÂ 3. My Lord throughout this day, Iâ€™ll try to follow youIt may not be an easy task, so please come help me tooÂ 4. And let me dedicate, each new day coming throughTo you my friends with love and peace, as Jesus liked to do.

$1.99 ≈ $2.73

Almost May Lead Sheet

Almost May Lead Sheet #C Instruments #EASY #Heidi Savoie #Heidi Savoie #Almost May Lead Sheet #Heidi Savoie #SheetMusicPlus

C Instrument - Level 2 - Digital Download SKU: A0.1376331 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Instructiona...(+)

C Instrument - Level 2 - Digital Download SKU: A0.1376331 By Heidi Savoie. By Heidi Savoie. Arranged by Heidi Savoie. Classical,Contemporary,Instructional,Jazz,Singer/Songwriter. Lead Sheet / Fake Book. 1 pages. Heidi Savoie #960874. Published by Heidi Savoie (A0.1376331). This is a lead sheet for any instrument for the song Almost May.Â Almost May - Theme and VariationsBackstory:Â Years ago I wrote a simple piano piece for my students. As instrumental music can fully exist outside the confines of words, it can be difficult to find the right title for something that is pure sound and possibility. I took inspiration from the time of year in which I had composed it and stamped it, â€œAlmost Mayâ€. Like springtime in the Northern Hemisphere, â€œAlmost Mayâ€ unfolds slowly and majestically, with ever-evolving layers for the senses to discover.Â What to listen for: ThemeThe main theme is first presented by the piano with minimal fanfare. This part was written to be easy enough for a child, which despite being sparing of notes, delivers rich harmonic content. Every note has been carefully curated for the optimal combination of accessibility and depth. Weaving chromatically into distantly-related keys, the melody takes small steps into contrasting musical spaces. In a wordless procession, the storyline plays out, as if the theme discovers that someone very different lives next door, and they slowly become inseparable. The piano is accompanied by an airy touch of brushes against a snare drum, like the pitter patter of soft feline steps. In the low frequency range, the upright bass supports and deepens the tonal palette with its earthy underpinnings.Â What to listen for: Variation IÂ The unmistakable string section arrives like a breath of warm air. Lush, warm and reassuring like sunshine on your cheeks, the string parts begin with long tones. This broadness and stability will evolve into more layers of complexity throughout the section. While the role of the string section is background accompaniment, it undergoes textural changes which allow for some layers to briefly rise to the forefront as melody. Careful listening to the string parts will reveal an oceanic churning, a motion from background to foreground with expansions and contractions along the way. Floating overtop this density is the improvised piano solo, with ascending gestures that progress in detail and density. Each instrument enters a general unfolding and growth period in the first variation. The bass and drums include more fills than before, as the ensemble tends gradually toward more grandeur.Â What to listen for: Variation IIÂ The final variation opens with a decadent treatment of the melody. What was initially expressed by a soloist as a childlike plea is reimagined as a two-part conversation between the piano and lead viola. The obbligato voiced in the viola is a derivation of the melody that holds the space between phrases so the listener's attention is passed seamlessly between the piano and viola part. This dialogue features commentary on the original melody in the form of ornamentation and taking surprising pathways to expected destinations. The rhythm section (bass and drums) takes more liberties in creating a verdant soundscape as the ensemble rises to a final climax.Â Credits:Â I would like to thank Cole Canaday for the nuance, imagination and depth of understanding with which he brought this piece to life. I would also like to thank Blake Hamilton and Anastace for providing invaluable audio engineering feedback.

$2.99 ≈ $4.10

Chording to the Dance Masters - Melody and chords for 44 Renaissance Dance Consort pieces

Chording to the Dance Masters - Melody and chords for 44 Renaissance Dance Consort pieces #C Instruments #EASY #Renaissance #Various #Chording to the Dance Masters #Wold Meridian #SheetMusicPlus

C Instrument - Level 2 - Digital Download By Various. By Anonymous, Claudin de Sermisy, Henry VIII, Pierre Phalese, Thoinot Arbeau, John Dowland (1563-...(+)

C Instrument - Level 2 - Digital Download By Various. By Anonymous, Claudin de Sermisy, Henry VIII, Pierre Phalese, Thoinot Arbeau, John Dowland (1563- 1626), Michael Praetorius (1571-1621), Pierre Attaignant (1494-1553), Pierre Certon (1510-1572), William Cornysh (1470-1523), Juan Del Encina (1468-1530), Claude Gervaise (1540-1560), Giorgio Mainerio (1535-1582), Erasmus Widmann (1572-1634), and Tielman Susato (1500-1561). Arranged by Alastair Lodge. 151, 153, 162, Folk, Renaissance. Lead Sheet / Fake Book. 38 pages. Wold Meridian #727149. Published by Wold Meridian
Chording to the Dance Masters is a selection of dance tunes that were collected originally between about 1500 and 1620. Printing made many of these tunes popular throughout Europe during these times, some of them composed by the printer/publishers themselves, but many more of them existed previously as rustic dance tunes or popular chansons. The works were originally published to be played by three to five instrumentalists, with no particular instruments specified. They suited consorts or “choirs” of instruments that were depicted in the illustrations of Agricola, Mersenne and most notably Praetorius and are now preserved in museums around the world.

Many editions exist in the 3, 4 or 5 parts as originally published, and these are an absolute joy to perform from, where the interweaving parts create interesting harmonies that demonstrate the skills of these renaissance composer/arranger/publishers. Playing with modern reproductions of the early instruments will recreate textures and sounds unique to this period. However, not everyone is lucky enough to either own these instruments or else have contact with others with whom they could form ensembles. This book aims to widen the experience out to those who would like to play these tunes on their own or with the accompaniment of a guitar, keyboard or other available chordal instrument. Fake books abound for those who wish to play Jazz, Folk, Classical and Popular music where the melody is annotated with chords so that players can access these tunes in their own way. As far as I am aware, this has not often been done for the player who wishes to busk their way through music of the Renaissance period.

I have attempted to include all the chords implied by the polyphonic parts of the original publications, simply because it is in the transitions of the harmonies under the melodies where the genius of the original arranger/publisher resides. Those who go on to explore the original versions may look forward to the way in which each line presents the player with intrinsically beautiful counter melodies.

At first, the rapidity of chord changing can be a bit daunting, so I have marked out what I consider to be the essential chords for accompaniment in boxes. Playing just these will provide adequate accompaniment, whilst leaving the more adventurous scope to enhance their performance by referencing some of the other chords. You can hear the chording arrangements together with the original 3, 4 or 5 part versions of all 44 pieces on a YouTube playlist which has been made as a companion to this volume at

https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNS

As well as the solo or player in a duo, this book would also be of value for someone who is used to reading chords rather than melody lines wishing to join in with a renaissance consort. The selection I have chosen represents quite a few of the “standards” that have become regularly played since the revival of renaissance music in the late 1960s. It is hoped that should this volume prove popular, companion volumes with all the parts provided for the same pieces could make essential repertoire for the budding renaissance dance consorts of the future.

$11.46 ≈ $15.72