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Ill Always Be With You Voice, Guitar
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You've selected:
Ill Always Be With You Voice, Guitar
Sheetmusic to print
34 sheet music found
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1
26
I'll Be With You
I'll Be With You
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Piano, Vocal and Guitar
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INTERMEDIATE/ADVANCED
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Andrew McDonald
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Andrew McDonald
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I'll Be With You
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Andrew Mc Donald
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1312866 By Andrew McDonald. By Andrew McDonald. Arranged by Andrew McDonald. Christian,Coun...
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Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1312866 By Andrew McDonald. By Andrew McDonald. Arranged by Andrew McDonald. Christian,Country,Pop. Score. 5 pages. Andrew Mc Donald (Macka Records) #901701. Published by Andrew Mc Donald (Macka Records) (A0.1312866). I'll Be With You is a song about the promise Jesus makes to His disciples. He told them to wait for the gift of the Holy Spirit which would empower them to do His wonders. He then says that He will always be with them even until the end of the age. This is a score for piano and vocals.
$4.99
Waltz of the Roses (Think of My Love As A Rose), for Low Voice Piano, Theme from The Snow Queen, A B
Waltz of the Roses (Think of My Love As A Rose), for Low Voice Piano, Theme from The Snow Queen, A B
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Low voice
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INTERMEDIATE
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James Nathaniel Holland
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Waltz of the Roses
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James Nathaniel Holland
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SheetMusicPlus
Low Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.730412 Composed by James Nathaniel Holland. Contemporary,Holiday,Love,Wedding. 8 pages. James N...
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Low Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.730412 Composed by James Nathaniel Holland. Contemporary,Holiday,Love,Wedding. 8 pages. James Nathaniel Holland #3369751. Published by James Nathaniel Holland (A0.730412). A beautiful, sentimental slow waltz from the Pas de Deux of the ballet, The Snow Queen by American Costa Rican composer James Nathaniel Holland. Here arranged in the original key for low voice, piano, and with guitar chords. Intermediate level. Perfect for Valentine's Day, Wedding Father Daughter Waltz, or anytime of the year! Orchestral accompaniment sold separately.Beautiful and bright as the Red Rose;With only one hope: 'You'll remember me.'Know that I'll always love you,And that this love will not fade.Fresh, so sweet, the fragrance,Of those happy times, wonderful, sublime, we once shared.If I should dare, say you still care!Think of my love as a Rose.(Brief music interlude)I wish you nothing but gladness,And a life filled with Joy!Seasons may come;Years, they may go,Love can survive,Through Winter's snow.And so this love will for you,Think of my love as a Rose.As Seasons fly; Years, as they go,Think of my love as a Rose!J.N. Holland (Duration: 6 minutes)YouTube Video Presentation: https://youtu.be/9dgnKajSsE8 Composer website: http://lacoronadelossantos.net/jamesnathanielholland.htmlFacebook page: https://www.facebook.com/jamesnathanielholland/
$4.95
Ta Maman for alto, cello and guitar
Ta Maman for alto, cello and guitar
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Contemporary
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David Warin Solomons
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Ta Maman for alto, cello and g
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David Warin Solomons
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SheetMusicPlus
Small Ensemble Cello,Guitar,Voice - Level 3 - Digital Download SKU: A0.576653 Composed by David Warin Solomons. 20th Century,Contemporary. Score and part...
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Small Ensemble Cello,Guitar,Voice - Level 3 - Digital Download SKU: A0.576653 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 10 pages. David Warin Solomons #51133. Published by David Warin Solomons (A0.576653). Very sad poem by Paul Maertens about a child he came to know from his medical practice. The mother was unmarried and ashamed and tried to ignore the child as if it were a reproach to her, the child became autistic and unable to react to others. This setting for alto voice, cello and guitar reflect the mood of the poem in all its sadness. The sound sample is a performance by the composer, with Chris Benson on cello. (The guitar's 6th string is tuned to D - much use is made of 12th and 19th (or 7th if preferred) fret harmonics) The pdf file contains score and parts. An instrumental version of the the music, entitled Promenade d'hiver (viola, cello and guitar), is also available on this site. It is sung in French, but for convenience I am providing an English translation below (not for performance purposes). Ta Maman, p'tit gars, ne te désirait pas.Maintenant tu ouvres les robinets, et vois l'eau couler sans vouloir la saisir.Ta Maman a nié son attente. Ton Papa n'est pas tien, et ta Maman, de honte, t'a caché dans ses seins. Tu naissais sans qu'on te donne la vie. Tu étais dorloté, car il ne fallait pas qu'on t'entende, mon gars. Ta Maman ne te regardait pas dans les yeux; tes sourires n'ont pas eu de réponse. On ne t'a pas aimé.On t'a interdit la vie. Ta Maman ne pouvait soutenir ce reproche que tes yeux lui lançait; et pour mieux te fuir elle fit de toi cet objet cet oubli, un chien propre et fidèle qu'on lave, qu'on nourrit. Maintenant tu te promènes une auto à la main, sans jouer sans sourire sans parler. Ta Maman est partie, et tu n'as pas pleuré; tu as laissé ton auto quelque part, et tu ranges les cubes étalés devant toi: toujours dans le même ordre, simplement, sans angoisse, sans bonheur. Tu ne vis pas, p'tit. Réveille-toi, mon gars! Your mummy, little chap, did not want you. Now you turn on the taps and watch the water flow, but you don't want to grab it. Your mummy didn't admit she was expecting. Your daddy isn't yours and your mummy, out of shame, hid you in her breasts. You were born but you weren't given a life. You were rocked to sleep because you weren't supposed to be heard. Your mummy didn't look into your eyes, your smiles got no response. You weren't loved. You were forbidden to live. Your mummy could not bear the reproach your eyes shot at her, and in order to flee you all the more she made you into this object, this forgotten thing, a clean and faithful dog that you wash and feed. Now you roll your toy car around, without playing or smiling or speaking. Your mummy has gone and you didn't cry. You've left your car somewhere and you arrange the cubes in front of you, always in the same order, simply, without anguish, without happiness. You are not living , little one. Wake up little chap!
$10.00
"Always" - Matthew 28:20 memory verse
"Always" - Matthew 28:20 memory verse
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Alison Harbottle
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"Always" - Matthew 28:20 memor
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Martini Strings
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SheetMusicPlus
Guitar,Violin,Voice - Digital Download SKU: A0.1069510 Composed by Alison Harbottle. Children,Christian. Full Performance. Duration 84. Martini Strings #...
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Guitar,Violin,Voice - Digital Download SKU: A0.1069510 Composed by Alison Harbottle. Children,Christian. Full Performance. Duration 84. Martini Strings #4757649. Published by Martini Strings (A0.1069510). Matthew 28:20 Jesus said, I will be with you always. A simple memory verse song to help little children remember that Jesus can be always with them.
$1.99
Please Try to Remember Me (Holy Thursday) - vocal trio, flute and piano
Please Try to Remember Me (Holy Thursday) - vocal trio, flute and piano
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Piano, Voice
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EASY
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Connie Boss
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Please Try to Remember Me
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Connie Boss
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.801303 Composed by Connie Boss. Easter. Score. 4 pages. Connie Boss #5197971. Published by ...
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Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.801303 Composed by Connie Boss. Easter. Score. 4 pages. Connie Boss #5197971. Published by Connie Boss (A0.801303). Holy Thursday - Washing of the feet song. It is a vocal trio with flute and piano. The verses are for solo voice or could be all in unison with harmonies added. The instruments are optional except the piano. Voices are written in treble clef but men could be added as well. The YouTube link is with a cello instead of flute, but it will be the same music.Questions or requests, email cdboss@cvalley.netHoly Thursday/Washing of the Feet/The Last Supper Verse 1: Jesus said to His apostles, welcome to this feast – He said Please try to remember me This was the night of His last supper, they all sat down to eat. He said Please try to remember me. Refrain: For I will be with you always Keep me in your heart Verse 2: Then He knelt before each man and placed their feet in His hands – He said Please try to remember me He washed their feet of the dirt and sand from their trip on the land – He said Please try to remember me Refrain: For I will be with you always Keep me in your heart Verse 3: He told them of His fate that night and saw that they were filled with fright – He said Please try to remember me Now go forth and spread the word, the message that you’ve heard – He said Please try to remember me Refrain: For I will be with you always Keep me in your heart.
$5.50
Jim Beck: I Want To Be With You Always for voice, piano and guitar
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Piano, Vocal and Guitar
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INTERMEDIATE
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Country
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Jim Beck
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Virtualsheetmusic
Instantly printable sheet music by Lefty Frizzell for voice, piano or guitar of MEDIUM skill level. / country,love,oldies,pop,standards
Instantly printable sheet music by Lefty Frizzell for voice, piano or guitar of MEDIUM skill level. / country,love,oldies,pop,standards
$6.97
Waltz of the Roses (Think of My Love As A Rose), for High Voice Piano, Theme from The Snow Queen, A
Waltz of the Roses (Think of My Love As A Rose), for High Voice Piano, Theme from The Snow Queen, A
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James Nathaniel Holland
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Waltz of the Roses
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James Nathaniel Holland
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SheetMusicPlus
High Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.730413 Composed by James Nathaniel Holland. Contemporary,Holiday,Wedding. 8 pages. James Natha...
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High Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.730413 Composed by James Nathaniel Holland. Contemporary,Holiday,Wedding. 8 pages. James Nathaniel Holland #3369761. Published by James Nathaniel Holland (A0.730413). A beautiful, sentimental slow waltz from the Pas de Deux of the ballet, The Snow Queen by American composer James Nathaniel Holland. Â Here arranged for high voice (key of C), piano, and with guitar chords. Intermediate level. Perfect for Valentine's Day, Wedding Father Daughter Waltz, or anytime of the year! Orchestral accompaniment sold separately.Beautiful and bright as the Red Rose;With only one hope: 'You'll remember me.'Know that I'll always love you,And that this love will not fade.Fresh, so sweet, the fragrance,Of those happy times, wonderful, sublime, we once shared.If I should dare, say you still care!Think of my love as a Rose.(Brief music interlude)I wish you nothing but gladness,And a life filled with Joy!Seasons may come;Years, they may go,Love can survive,Through Winter's snow.And so this love will for you,Think of my love as a Rose.As Seasons fly; Years, as they go,Think of my love as a Rose!J.N. Holland (Duration: 6 minutes)YouTube Video Presentation: Â https://youtu.be/9dgnKajSsE8Facebook page: Â https://www.facebook.com/jamesnathanielholland/.
$4.95
Songs of Romance: Sampler Gig Pack - Three selections (I'm Always Chasing Rainbows, It Had To Be You
Songs of Romance: Sampler Gig Pack - Three selections (I'm Always Chasing Rainbows, It Had To Be You
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Jazz
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Carroll & McCarthy, Jones & Ka
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Stephen Bulat
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Songs of Romance: Sampler Gig
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Stephen Bulat Publishing
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Bassoon,Clarinet,English Horn,Flute,Guitar,Harpsichord,Oboe,Organ,Piano,Soprano Recorder,Soprano Saxophone,Ten...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Bassoon,Clarinet,English Horn,Flute,Guitar,Harpsichord,Oboe,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trumpet,Ukulele,Viola,Violin,Voice - Digital Download SKU: A0.858949 Composed by Carroll & McCarthy, Jones & Kahn, and Whiting & Egan. Arranged by Stephen Bulat. Holiday,Jazz,Love,Wedding. Score and parts. 7 pages. Stephen Bulat Publishing #6260847. Published by Stephen Bulat Publishing (A0.858949). This sampler pack includes lead sheet arrangements (melody, lyrics & chords) of three romantic jazz songs in their original keys. Songs include: I'm Always Chasing Rainbows (key of G) It Had To Be You (key of G) Till We Meet Again (key of F minor)A jazz standard songbook must-have, each arrangement has been gig-tested and has a very easy to follow roadmap, with all essential music notes, musical cues and rehearsal markings throughout. Layout is in a larger style font than lead sheets in a typical fakebook yet still condensed to minimize page turns. This format can be used for guitar sheet music, for piano sheet music, as instrumental sheet music, vocal sheet music or as accompaniment to a soloist (e.g. violin, flute)Please click on the publisher to view these arrangements in other keys as well as to purchase in Classic Love Songs - A Valentine's Day Fake Book.Classic Love Songs - A Valentine's Day Fake Book (C Instruments): https://www.sheetmusicplus.com/title/21964690 - Item Number: S0.975249
$5.99
His Great Symphony
His Great Symphony
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Piano, Vocal and Guitar
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INTERMEDIATE
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Kimberly Joy Minarich
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His Great Symphony
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Kimberly Joy Minarich
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1266953 Composed by Kimberly Joy Minarich. 21st Century,Christian. Score. 6 pages. Kimberly...
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1266953 Composed by Kimberly Joy Minarich. 21st Century,Christian. Score. 6 pages. Kimberly Joy Minarich #859598. Published by Kimberly Joy Minarich (A0.1266953). Feeling discouraged, experiencing pain or grief, longing for peace, joy, and love in this crazy journey of life...I don't claim to have all of the answers, but I know the One who does. He may not directly answer when you pray, however, I can promise you that He will never leave your side and will walk with you through whatever you are going through. As a musician, I have always been entranced with how melodies and harmonies, instruments of varying timbres, and beautiful orchestrations create frequencies that combine to make incredible symphonies and compositions. Life is the same...God gives us love, joy, grief, and pain to create a brilliant symphony of our life. Without all the colors we wouldn't understand the overall beauty and purpose. We must trust our composer through it all, knowing that He means every line intentionally for our good and the entire picture that will be beautiful in the end.
$7.99
Wonder
Wonder
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Choral SATB
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INTERMEDIATE
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Naughty Boy Featuring Emeli Sa
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Julian Hay
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Wonder
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Julian Hay
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1032091 By Naughty Boy Featuring Emeli Sande. By Emeli Sande, Harry Craze, and Hugo Chegwin. Arr...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1032091 By Naughty Boy Featuring Emeli Sande. By Emeli Sande, Harry Craze, and Hugo Chegwin. Arranged by Julian Hay. A Cappella,Contemporary,Pop,Soul. Octavo. 7 pages. Julian Hay #6024773. Published by Julian Hay (A0.1032091). This arrangement was commissioned for, and premiered by, Voices Co. Pop A Cappella Academy, with an ensemble of 20 voices. It is versatile and catchy, and has also been performed by our Vocal Bands with one voice per part, as well as our Kids A Cappella class.This arrangement has a gospel vibe (complete with a shout chorus), but with the groove of the original track provided by the addition of rhythm and bass.VOCAL LAYOUT:The melody, or lead line, is divided amongst the vocal parts to give variety. The B.G (background) parts replicate the instrumental accompaniment of the original track, filling out the arrangement and creating the contemporary texture that is at the heart of Pop A Cappella. When it's performed, it should be heavy on the rhythm and bass! The Rhythm (Beatbox) and Bass should be a feature, and they provide the arrangement with the groove and vibe it needs.The dynamics give an indication which vocal parts should be strongest at any given moment, but changes may need to be made depending on the number / balance of singers, and the strengths of each vocal section. As a general rule, the melody or lead should be strongest, followed by any harmony parts (those with lyrics), followed by any background parts (Mmm's / Dmm's, etc).The full arrangement is scored for SATB including clicking, clapping and Vocal Percussion (beatboxing). The song also works as SAT and could be transposed into a higher key to be delivered by a treble ensemble.RHYTHM & BASS:This Beatboxing part is suitable for beginners, and is made up of groupings of patterns. Specific Beatboxing notes are included in their own section within the Beatboxing score.If your ensemble is without a low bass or a beatboxer you could consider the following options.- Use electric bass guitar playing the bass part- Use a drum kit or drum box (Cajon)- Use a piano to provide some simple background accompanimentAlways click and clap on the off beats (2 and 4).PERSONAL ASSISTANCE:If you need any assistance please don't hesitate to get in touch with us directly, we'd be happy to reply to any questions via email, or you can also book in a 1:1 consultation between your M.D and Julian Hay, or a Zoom workshop with your ensemble for specific feedback:E. hello@voicesco.nzW. www.voicesco.nz
$2.49
Gnossienne No. 3 (Tablature + Sheet Music)
Gnossienne No. 3 (Tablature +)
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Guitar notes and tablatures
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EASY
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Classical
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Contemporary
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Erik Satie
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Brian Streckfus
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Gnossienne No. 3
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Brian Streckfus
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SheetMusicPlus
Guitar - Level 2 - Digital Download SKU: A0.1156458 Composed by Erik Satie. Arranged by Brian Streckfus. 20th Century,Classical,Romantic Period. Guitar T...
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Guitar - Level 2 - Digital Download SKU: A0.1156458 Composed by Erik Satie. Arranged by Brian Streckfus. 20th Century,Classical,Romantic Period. Guitar Tab. 7 pages. Brian Streckfus #756776. Published by Brian Streckfus (A0.1156458). IMPORTANT NOTE: You get both tablature version and sheet music version in one 7 page PDF! Hopefully this makes these arrangements all-inclusive for different purposes and skill levels. Also the tab version is meant for Drop D tuning and the sheet music is for standard tuning! Just be careful with your printer settings if you don't want two versions!1. Impressionism French minimalist piece arranged for guitar in Drop D Tuning.2. The composer indications in text are not my recommendations, but the original composer's. 2. Guitar tablature added with circles for half notes and whole notes.3. Measures and time signatures removed to reflect the ethos of the original composer. 4. Engraved to fit on four pages. Many of the lines themselves represent a musical phrase, making my arrangement that much easier to perform musically.  5. Courtesy accidentals added but they just look like regular accidentals. I did this especially because the piece is one gigantic measure and accidental etiquette is hard to follow under those circumstances. 6. Some overly contrived ties removed.This one is a real challenge to engrave because the original composer didn't have bar lines or time signatures. Cool idea but that can cause even the best sheet music programs to glitch out a bit when you have 16/4 hidden time signatures! This especially causes problems with accidentals, and it also causes rhythm problems when multiple voices are happening. As always, I like to try to have notes with upward stems represent the main voice, and downward stems to represent background voices, even though this leads to a bit of messiness with stem collisions. Normally the sheet music shows the rhythm the best, but dare I say the tab actually keeps track of time pretty well since all the voices are condensed into one rhythm line.
$1.99
Prelude No 1 in D (Memories)
Prelude No 1 in D (Memories)
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Guitar
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INTERMEDIATE
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Simon James
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Prelude No 1 in D
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DML
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SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.1185160 Composed by Simon James. 20th Century,Classical,Contemporary,Instructional. Individual part. 5 p...
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Solo Guitar - Level 3 - Digital Download SKU: A0.1185160 Composed by Simon James. 20th Century,Classical,Contemporary,Instructional. Individual part. 5 pages. DML #784842. Published by DML (A0.1185160). These short Preludes for guitar are intended to illustrate a particular technical point or points. It may be either technical or compositional or both and I would have to say that I have been influenced by Tarrega’s Preludes which he wrote mostly for his students and so have called them Preludes rather than Studies. I learnt Tarrega’s pieces such as Adelita and Lagrima early in my study of the guitar and always enjoyed their nature as both technical exercises but also performance pieces. I have tried to emulate that with these pieces. The piece is written as a Fugue with two voices. The idea was to explore counterpoint on the guitar and how to handle it. The time signature is 6/8 which suits the guitar well as it gives a very lyrical feel. The first voice opens the piece with the subject and then at bar 8 the second voice enters in the bass while the first voice plays the countersubject. I have given considerable technical guidance both in fingering and the use of different strings as these pieces are intended to be instructional, if in doubt you will find all the techniques you need in my book The Art Of Accompaniment On The Guitar available from Amazon.
$2.99
Herman Ruby: I'll Always Be In Love With You for voice, piano and guitar
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Piano, Vocal and Guitar
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INTERMEDIATE
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Wedding/Ballad
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Herman Ruby
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Virtualsheetmusic
Instantly printable sheet music by Sam H. Stept for voice, piano or guitar of MEDIUM skill level. / love
Instantly printable sheet music by Sam H. Stept for voice, piano or guitar of MEDIUM skill level. / love
$5.97
Excerpt from the Last Part of Ariadne Auf Naxos
Excerpt from the Last Part of Ariadne Auf Naxos
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Guitar
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INTERMEDIATE
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Classical
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Mag...
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Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
Be Still And Know
Be Still And Know
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Gospel/Spiritual
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Sacred music
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Steven Curtis Chapman
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Arr
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Be Still And Know
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Leatherman Music Services
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SheetMusicPlus
Large Ensemble Choir,Piano,Voice - Level 3 - Digital Download SKU: A0.829481 By Steven Curtis Chapman. By Steven Curtis Chapman. Arranged by Arr. by Tom ...
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Large Ensemble Choir,Piano,Voice - Level 3 - Digital Download SKU: A0.829481 By Steven Curtis Chapman. By Steven Curtis Chapman. Arranged by Arr. by Tom Fettke Orchestrated by Lyndell Leatherman. Christian,Gospel. Score and parts. 49 pages. Leatherman Music Services #6776763. Published by Leatherman Music Services (A0.829481). This hauntingly beautiful 1999 classic by Steven Curtis Chapman was arranged for solo voice (or unison choir) and piano (with chord symbols) by Tom Fettke, and now here is a church orchestration which fits that arrangement. For your convenience, the original solo and piano accompaniment is included in this PDF. As always, you may make multiple copies of any of the instrumental parts that you need. (And remember that a guitarist or electric bassist can play from the vocal/piano chart.)
$24.99
The Nearness Of You
The Nearness Of You
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Jazz
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George Shearing
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Steve William Lussing
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The Nearness Of You
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S. W. Lussing
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SheetMusicPlus
Instrumental Duet Guitar,Instrumental Duet,Voice - Level 4 - Digital Download SKU: A0.923852 By George Shearing. By Hoagy Carmichael. Arranged by Steve W...
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Instrumental Duet Guitar,Instrumental Duet,Voice - Level 4 - Digital Download SKU: A0.923852 By George Shearing. By Hoagy Carmichael. Arranged by Steve William Lussing. Jazz. Score and parts. 5 pages. S. W. Lussing #3126013. Published by S. W. Lussing (A0.923852). Many venerable songs were written in the age before computers and midi synthesizers. A musical score or lead sheet was intended to be interpreted for style and tempo, and while some of those interpretations may not necessarily have been wrong, quite often they weren't always what the author intended, but face it, it's just plain hard to write music exactly in the way that the song is intended to be sung. Enter the computer age, and the ability for performers to understand that the interval of a note is an absolute time interval which puts the natural rhythm, or beat, of a musical arrangement at about 25% faster than a beat per second, which is why I arrange music to be performed at ~ 80 BPM, which means, approximately 80 beats per minute. That is not etched in stone, but it does represent the comfort zone to which the performer should subscribe when singing or playing a song. Contemporary jazz singers are, in my opinion, therefore obligated to re-arrange the songs that they intend to record, to avoid the embarrassment of getting it wrong. It happens. Timing is of the essence. Many of those old jazz classics are well served with a rewrite for the contemporary artist.The Nearness of You was written in 1938 by Hoagy Carmichael, with lyrics by Ned Washington, and was performed in the 1938 Paramount movie, Romance in the Dark, by Gladys Swarthout of the Metropolitan Opera. It has been recorded numerous times over the years, and it maintains its popularity today. The guitar chording for this arrangement is targeted toward the experienced and more advanced players, but I encourage the experienced intermediate level player to take up the challenge of learning to play this song. It will be a rewarding experience.
$4.99
Chorus and Aria from Ariadne auf Naxos
Chorus and Aria from Ariadne auf Naxos
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Guitar
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INTERMEDIATE/ADVANCED
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Classical
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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Chorus and Aria from Ariadne a
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
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Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
'A golden time ...' from Ariadne auf Naxos
'A golden time ...' from Ariadne auf Naxos
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Guitar
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INTERMEDIATE/ADVANCED
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Classical
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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'A golden time ...' from Ariad
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Mag...
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Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
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