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Theme from Drums
Not classified 98

Piano & keyboards
Piano solo 5
Piano, Vocal and Guitar 3
Piano, Voice 2
C Instruments 2

Piano Accompaniment 1

Accordion 1

+ 1 instrumentations

- Retract

Guitars
Guitar 4
Guitar notes and tablatures 1
Piano, Guitar (duet) 1

Voice
Choral SATB 7
Choral 3-part 3
Choral 2-part 3
Choral SSATTB 1

Woodwind
Saxophone ensemble 8
Tenor Saxophone and Piano 3
Saxophone Quartet: 4 saxophones 2
Soprano Saxophone and Piano 1
Saxophone Quintet: 5 Saxophones 1

Clarinet Ensemble 1
Clarinet and Piano 1
Clarinet, Cello (duet) 1

+ 3 instrumentations

- Retract

Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba 4
Brass Quartet: 4 horns 2
2 Euphoniums and 2 Tubas 1
Trombone ensemble 1
Brass Quartet: 4 trombones 1

Strings
Violin (band part) 2
Violin and Piano 1
Cello (band part) 1
Viola (band part) 1
String Quartet: 2 violins, viola, cello 1

Percussion & orchestra
Jazz Ensemble 42
Drums 26
Drum (band part) 24
Jazz combo 19
Concert band 10

Orchestra 9
String Orchestra 6
Percussion Ensemble 4
Brass ensemble 2
Chamber Orchestra 2
Marching band 1
Big band 1
Percussion (band part) 1

+ 8 instrumentations

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Theme from Drums

C Instruments

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2 sheet music found

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 ≈ £2.35

Whatever We Imagine (vocal)

Whatever We Imagine (vocal) #C Instruments #INTERMEDIATE #James Ingram #David Foster, Paul Gordon and #Popnroll 1976 #Whatever We Imagine #Popnroll 1976 #SheetMusicPlus

C Instrument - Level 3 - Digital Download SKU: A0.1303235 By James Ingram. By David Babyface Foster, Jeremy Michael Lubbock, and Paul Gordon. Arranged by...(+)

C Instrument - Level 3 - Digital Download SKU: A0.1303235 By James Ingram. By David Babyface Foster, Jeremy Michael Lubbock, and Paul Gordon. Arranged by Popnroll 1976. 20th Century,Pop. Lead Sheet / Fake Book. 2 pages. Popnroll 1976 #892835. Published by Popnroll 1976 (A0.1303235). Whatever We Imagine - David Foster (Lead Sheet/Rhodes Intro)This is a lead sheet (with electric piano intro) for Whatever We Imagine, the opening instrumental from the 1985 leader album by the great American producer David Foster.PDF format, 2 pages.Composed by David Foster, Paul Gordon and Jeremy Lubbock[Song description].The introduction is a Rhodes electronic piano solo by Jeremy Lubbock, which is a perfect and chic introduction to the song.After the drums begin to fade in, the piano theme appears.In the chorus part, the synthesizer and brass are in unison, and the latter half of the song is modulated to minor third degree (Ab to B), and it is slowly carried to the ending with a sense of exuberance.The original sound source fades out, but this score ends with a Bmaj7 whole note at the end.The bass playing pattern is based on quarter note + eighth note + quarter note + eighth note throughout the entire piece.

$9.99 ≈ £7.84