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You've selected:
Find Out What They Like And How They Like It
Sheetmusic to print
65 sheet music found
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51
Find Out What They Like And How They Like It
Find Out What They Like And How They Like It
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Andy Razaf and Thomas Fats Wal
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David Wright
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Find Out What They Like And Ho
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David Wright
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SheetMusicPlus
Small Ensemble High Voice - Level 4 - Digital Download SKU: A0.650935 Composed by Andy Razaf and Thomas Fats Waller. Arranged by David Wright. A Cappella...
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Small Ensemble High Voice - Level 4 - Digital Download SKU: A0.650935 Composed by Andy Razaf and Thomas Fats Waller. Arranged by David Wright. A Cappella. Score and parts. 6 pages. David Wright #260023. Published by David Wright (A0.650935). The arrangement is for women's barbershop quartet. The price entitles the purchaser to four copies.
$12.99 ≈
11.77€
Find Out What They Like And How They Like It
Find Out What They Like And How They Like It
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Choral SSAA
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INTERMEDIATE/ADVANCED
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Andy Razaf and Thomas Fats Wal
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David Wright
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Find Out What They Like And Ho
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David Wright
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SheetMusicPlus
Choral Choir (SSAA) - Level 4 - Digital Download SKU: A0.650936 Composed by Andy Razaf and Thomas Fats Waller. Arranged by David Wright. A Cappella. Octa...
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Choral Choir (SSAA) - Level 4 - Digital Download SKU: A0.650936 Composed by Andy Razaf and Thomas Fats Waller. Arranged by David Wright. A Cappella. Octavo. 6 pages. David Wright #260024. Published by David Wright (A0.650936). The arrangement is for women's barbershop chorus.
$1.99 ≈
1.80€
Hanon Piano / Keyboard Exercises 1 - 30 Condensed and Simplified for Beginners Easy Reading
Hanon Piano / Keyboard Exercises 1 - 30 Condensed and Simplified for Beginners Easy Reading
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Piano solo
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EASY
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Instructional
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Charles-Louis Hanon
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Martin Woodward
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Hanon Piano / Keyboard Exercis
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Martin Woodward
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SheetMusicPlus
Piano Solo - Level 2 - Digital Download SKU: A0.887255 Composed by Charles-Louis Hanon. Arranged by Martin Woodward. Instructional. Score. 37 pages. Mart...
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Piano Solo - Level 2 - Digital Download SKU: A0.887255 Composed by Charles-Louis Hanon. Arranged by Martin Woodward. Instructional. Score. 37 pages. Martin Woodward #6513221. Published by Martin Woodward (A0.887255). Hanon Piano / Keyboard Exercises 1 - 30Condensed and Simplified for Beginners Easy ReadingIn this short book you will find condensed and simplified versions of the Hanon piano finger exercises 1 - 30 as well as the major, harmonic minor and melodic minor scales in every key (two octaves). What is Hanon? The ‘Hanon Virtuoso Pianist’ is a collection of piano finger exercises designed to give equal strength, agility and flexibility to all five fingers of both hands. Written by Charles-Louis Hanon sometime in the 1800s, these exercises without doubt have become one of the most widely used techniques by today’s pianists. In my opinion these are the best finger exercises available. One really great thing about these exercises is that they are applicable to both absolute beginners and advanced players alike, particularly as the reading ability required is minimal. Whatever your ability, these exercises will help improve your technique and finger strength. Having been written well over 100 years ago, the original work is now in the public domain and therefore digital copies can be acquired free of charge on the internet. However, most of these are very poor quality and the instructions are mainly in French or Russian - neither of which work too well for me! For the full version I personally recommend the ‘Alfred’ Edition edited by Allan Small which is clear and has instructions in English. So why do I need this book? The whole point is to make it easy to read and to reduce page turns - less is more! In the full version the first 30 exercises take up fifty pages whereas here there are three exercises per page for the first 20, then two per page for the next 10, reducing the fifty pages to just twelve. I initially produced this for my own use only but figured that others may like to take advantage of what I’ve done. Does this mean that the print is just smaller? No, not at all. If you are familiar with these exercises you will know that they are repeated patterns which ascend and descend for two octaves diatonically. To condense and simplify them and consequently eliminate an enormous amount of page turns I have shown: the all-important fingering on the first pattern (as per the original)then the repeated second patternthen ‘changeover’ patterns between ascending and descending - which are sometimes slightly differentthen finally the last pattern of each exercise which again is often very slightly different. I have also written them two octaves apart (for easy reading) and only shown them for one octave instead of two. In practice they should be played one octave apart and ultimately be practiced for two octaves. You can print out any or all the pages as required (the link for the pdf printable version is given at the end of the book).Please see: https://learn-keyboard.co.uk/hanon.html
$5.99 ≈
5.43€
Midnight Blues Serenade For Flute and Piano
Midnight Blues Serenade For Flute and Piano
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Flute and Piano
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INTERMEDIATE
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Andrew D
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Andrew D
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Midnight Blues Serenade For Fl
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A.D.G. Productions
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SheetMusicPlus
Flute,Piano - Level 3 - Digital Download SKU: A0.1246834 By Andrew D. Gordon. By Andrew D. Gordon. Arranged by Andrew D. Gordon. Blues,Contemporary,Instr...
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Flute,Piano - Level 3 - Digital Download SKU: A0.1246834 By Andrew D. Gordon. By Andrew D. Gordon. Arranged by Andrew D. Gordon. Blues,Contemporary,Instructional,Jazz,Pop. Score and part. 3 pages. A.D.G. Productions #841482. Published by A.D.G. Productions (A0.1246834). Midnight Blues Serenade For Flute and Piano is one of a collection of Blues Flute and Piano Pieces for the Intermediate Flautist. This is a medium tempo 12 bar blues with a swing rhythm in the key of F. The audio is recorded 1st. with flute and piano followed by just the piano to practice with. There is a 4 beat click as an intro.About the ComposerAndrew D. Gordon is a well-known author of over 130 music instructional books, particularly in the field of contemporary music and improvisation. His books are highly regarded and are considered to be of excellent quality by musicians and music educators.One notable aspect of Andrew D. Gordon's instructional books is their practicality. He has a knack for presenting complex musical concepts in a clear and accessible manner, making it easier for musicians of different skill levels to understand and apply them. Whether you are a beginner or an advanced player, his books provide valuable insights and techniques that can enhance your musical proficiency.Gordon's instructional books often focus on specific genres such as jazz, blues, funk, and rock, offering targeted guidance to musicians interested in these styles. He explores various aspects of improvisation, including scales, chord progressions, phrasing, and rhythmic patterns, allowing readers to develop their improvisational skills and musical vocabulary.One of the strengths of Andrew D. Gordon's books is the inclusion of practical examples and exercises. He provides musical examples that are relevant to the concepts being discussed, enabling readers to hear and internalize the ideas being presented. Additionally, his books feature exercises that encourage active participation and practice, ensuring that readers can apply what they have learned and reinforce their understanding.Gordon's writing style is concise and engaging, making it easy to follow along and stay engaged throughout the book. He presents the material in a logical and organized manner, building upon foundational concepts and gradually introducing more advanced techniques. This approach helps readers progress in a structured way, ensuring a comprehensive understanding of the topics covered.Moreover, Andrew D. Gordon's instructional books are often accompanied by audio recordings or backing tracks, providing an immersive learning experience. These resources allow readers to hear how the concepts and techniques should sound in a musical context and provide opportunities for practice and improvisation.Overall, Andrew D. Gordon's music instructional books are highly regarded for their practicality, clarity, and comprehensive coverage of contemporary music and improvisation. Whether you are an aspiring musician, a seasoned player, or an educator, his books can serve as valuable resources for enhancing your musical skills and understanding.Andrew D. Gordon's music instructional books are widely available for purchase through various online platforms and music retailers. Here are some common places where you can find his books:Author's Website: http://www.adgproductions.com.  Andrew D. Gordon has a dedicated website where you can directly purchase his books. Online Retailers: Websites like Amazon, Barnes & Noble, and Sheet Music Plus carry Andrew D. Gordon's instructional books. Simply search for his name or the specific book title to find the available options.Music Stores: Check with local music stores or instrument shops in your area. They may stock Andrew D. Gordon's instructional books or be able to order them for you.E-Book Platforms: Look for digital versions of Andrew D. Gordon's books on platforms like Kindle, Apple Books, or Google Play Books. These platforms often offer e-books that can be purchased and downloaded directly to your device.
$2.99 ≈
2.71€
The Story Of Reuben Clamzo & His Strange Daughter
The Story Of Reuben Clamzo & His Strange Daughter
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Choral TTBB
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EASY
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo & H
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Edition Craig Hanson
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SheetMusicPlus
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octa...
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Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99 ≈
3.62€
Khayaal, a lil fantasy: Full score : Band/Trio and Solo
Khayaal, a lil fantasy: Full score : Band/Trio and Solo
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Jazz combo
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INTERMEDIATE/ADVANCED
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Suraj Synthesist
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Suraj Dinakar Shetty
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Khayaal, a lil fantasy: Full s
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Suraj Synthesist
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SheetMusicPlus
Jazz Combo - Level 4 - Digital Download SKU: A0.1405714 By Suraj Synthesist. By Suraj Dinakar Shetty. Arranged by Suraj Dinakar Shetty. 21st Century,Cont...
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Jazz Combo - Level 4 - Digital Download SKU: A0.1405714 By Suraj Synthesist. By Suraj Dinakar Shetty. Arranged by Suraj Dinakar Shetty. 21st Century,Contemporary,Jazz,Multicultural,Rock,World. 32 pages. Suraj Synthesist #988778. Published by Suraj Synthesist (A0.1405714). The instrumental song â??Khayaal, a lil Fantasyâ? merges Khayaal, a style of Hindustani Classical Music, with synonymity of the word to Fantasy , a Western classical music style. It has a solo Electric Piano version and a band/trio combining Electric piano, Drums, and Contrabass. Though the fusion is not limited to Hindustani or Western Classical, as Carnatic Raagas for filler and BluesJazz/ Rock-n-Roll Bassline is also heard in the piece.This Book is the sheet music for same. Apart from spelled out notes of what is been played, It explains the musical decisions and directions that have gone in the Solo/ Band( Trio) version. The piece explains things like the use of the C half-diminished (2nd Octatonic diminished) scale, allowing exotic movements and exploring various genres. The piece draws inspiration from Indian ragas like Nasikabhushani Ramapriya and others. You will find notes of Crossrhythms, Polyrhythms, the change of time-Sginature, as well as Instrument specific techniques like the Glissando , or Holding a centre note of chord in an arpeggio and a Half-open HiHat, cross stick Snare drumming. You will find an explanation on some of the complex Drum fills used here , what was the crossrhythm, how to count them and how they were made to sound in the specific way.
$9.99 ≈
9.05€
Triad Chord Worksheet
Triad Chord Worksheet
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Guitar notes and tablatures
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BEGINNER
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Instructional
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Brian Streckfus
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Triad Chord Worksheet
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Brian Streckfus
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SheetMusicPlus
Guitar - Level 1 - Digital Download SKU: A0.1175289 Composed by Brian Streckfus. Instructional. Guitar Tab. 5 pages. Brian Streckfus #774500. Published b...
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Guitar - Level 1 - Digital Download SKU: A0.1175289 Composed by Brian Streckfus. Instructional. Guitar Tab. 5 pages. Brian Streckfus #774500. Published by Brian Streckfus (A0.1175289). Pages: 5 (84 chords to name)Objective:Instead of learning chords one by one, you instead learn how to build chords yourself. Also, this mindset helps in composing, because instead of seeing things as wrong chord versus correct chord, you simply see it as every harmony as a name. Like many things in life, theoritcal concepts can allow you to formulate thousands of outcomes in a single day. Tips:1. You start counting from 0 for this exercise if that makes any sense. Avoid the common fence post error by overcounting by 1. Other times you start counting from 1 in music is when talking about scale degrees. What is the distance from C to E? C(0) C#(1) D(2) D#(3) E(4).2. Use the chromatic scale at the top to help in counting.3. E# = F...Fb = E...B# = C...Cb = B...In otherwords, don't let strange enharmonics confuse you. Picture the black key sometimes missing between white keys on a piano in your mind if it helps. 4. Even though enharmonics like E# can seem confusing, they can actually add clarity sometimes because they cause the chord to stack perfectly in the sheet music and letter names. A# C# E#...versus...A# C# F...Sure, F is easier to understand in a part, but it actually makes the harmony harder to understand because not it looks like it isn't 3rds, even though it is.5. I included tab just to make this worksheet a little bit more interesting; however, the guitar chords that result are NOT practical. Voicings of common guitar chords are much more spread out, and often contain more duplicate letter names. Practical guitar chords is sort of a different conversation. I sort of did this intentionally to prove that perfectly stacked voicings do not work well on guitar. C E G Bb perfectly in order in harmony, sounds like it would be easy on guitar, but it is not.6. To make this more practical on guitar, I recommend building the chords yourself by simply knowing letter names well on guitar. The next time something asks for G major, don't just play a common voicing, actually find G B D randomly on the guitar neck. 7. Often the fifth of a chord is removed since it is the least important to invoking the flavor of the chord. This is especially true on guitar because we quickly run out of fingers and strings.8. The nature of the piano lends pianists to constantly seeing these distances on a linear plane. Conversely, guitar is a very murky instrument since the real distances of pitches is counterintuitive to arbitrary (usually) fret numbers! That is why many guitarists would benefit from thinking this way, instead of thinking of chords simply as shapes (which is also important for different reasons). In other words, try to build a chord on one string on guitar. It is impractical, but the half step distances required for chords will make much more sense.To Do:1. Slight differences in how the sheet look need to be made similiar.2. Remove green line.
$1.99 ≈
1.80€
Romance et étude (Romance and Etude), Op. 38 - Thalberg
Romance et étude (Romance and Etude), Op. 38 - Thalberg
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Piano solo
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INTERMEDIATE/ADVANCED
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Sigismond Thalberg
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Editions Melodia
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Romance et étude
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James Keenan
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SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Sigismond Thalberg (1812-1871). Arranged by Editions Melodia. Romantic Period, Etudes and...
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Piano Solo - Advanced Intermediate - Digital Download Composed by Sigismond Thalberg (1812-1871). Arranged by Editions Melodia. Romantic Period, Etudes and Exercises, Technique Training, Recital. Score, Sheet Music Single. 14 pages. Published by James Keenan
Thalberg (1812-1871) was a renowned piano virtuoso and composer. His technical specialty, since widely imitated, was to play a central melody with the thumb of either hand and surrounding it with brilliant arpeggios and arabesques.
Sigismond Thalberg was one of the most famous and most successful piano composers of the 19th century. During the 1830s and the 1840s his style was a major force in European piano-playing. He was greatly in fashion and was imitated by others. In 1852, Wilhelm von Lenz wrote:
'The piano playing of the present day, to tell the truth, consists only of Thalberg simple, Thalberg amended, and Thalberg exaggerated; scratch what is written for the piano, and you will find Thalberg.'
Ten years later, in 1862, a London correspondent of the Revue et gazette musicale wrote:
'Nobody in fact has been so much imitated; his manner has been parodied, exaggerated, twisted, tortured, and it may have happened more than once to all of us to curse this Thalbergian school'.
Expressions like "exaggerated", "twisted" and "tortured" indicate that some contemporaries were starting to feel jaded of his style. It was at this time when Thalberg's career as composer and as virtuoso came to an end.
In the late 19th century, Thalberg's fame had come to depend on his association with a single piano technique, the 'three-hand effect'. Carl Friedrich Weitzmann, in his Geschichte des Klavierspiels (1879), wrote about this.
'His bravura pieces, fantasies on melodies from Rossini's Mosè and La donna del lago, on motifs from Bellini's Norma and on Russian folk-songs, became extraordinarily popular through his own, brilliant execution; however, they treat their subjects always in one and the same way, [namely] ... to let the tones of a melody be played in the medium octave of the keyboard now by the thumb of the right, now of the left hand, while the rest of the fingers are executing arpeggios filling the whole range of the keyboard'.
$1.99 ≈
1.80€
Dandelion Wind
Dandelion Wind
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Percussion Ensemble
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INTERMEDIATE
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Celtic/Irish
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Frank Pugh
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Dandelion Wind
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Frank Pugh
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SheetMusicPlus
Percussion Ensemble - Level 3 - Digital Download SKU: A0.942719 Composed by Frank Pugh. Celtic,Contemporary,Standards. Score and parts. 8 pages. Frank Pu...
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Percussion Ensemble - Level 3 - Digital Download SKU: A0.942719 Composed by Frank Pugh. Celtic,Contemporary,Standards. Score and parts. 8 pages. Frank Pugh #3550781. Published by Frank Pugh (A0.942719). The title of Dandelion Wind comes from watching the white seeds blow off of a dandelion head in a strong breeze. Once in motion, the seeds travel with the wind until they come to a final resting place on the ground below. This piece flows along in that vein of a seedling's windblown journey.Although two marimbas were used in the sound file, the piece works equally well with vibraphones, xylophones, or a vibe/xylo/marimba mix. It has a slight Celtic feel to it, and it comes in at just over 1:30 if played at the minimum suggested tempo. It's a great choice for your percussion ensemble or to showcase a pair of mallet players in your program. The piece only requires one mallet per hand.If you would like to know more about me and what I do, you may locate me on LinkedIn at Frank Pugh Independent Composer / Arranger . You may also find me on Facebook at @fpughmusic . I would love to know where my music is being performed if you care to share it. Thanks!
$4.99 ≈
4.52€
The True Colors of Weedle • Vocal Selections
The True Colors of Weedle • Vocal Selections
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Piano, Vocal and Guitar
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INTERMEDIATE
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Music by Allison Brewster Fran
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Allison Brewster Franzetti
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The True Colors of Weedle •
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Shining Sharon Music
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1143939 Composed by Music by Allison Brewster Franzetti • Lyrics by June Rachelson-Os...
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1143939 Composed by Music by Allison Brewster Franzetti • Lyrics by June Rachelson-Ospa. Arranged by Allison Brewster Franzetti. Broadway,Contemporary,Musical/Show. Score. 87 pages. Shining Sharon Music #744248. Published by Shining Sharon Music (A0.1143939). 11 songs, by June Rachelson-Ospa and Allison Brewster Franzetti, from this very funny and sometimes sobering musical for Young People in Piano-Vocal settings help to tell the story of a boy, born colorless. As such, he has been bullied, because everyone else around him has lots of colors. Ostracized, Weedle sets out to find a companion/soul-mate, Marvello Maxumo Marmaduke (who ends up having three heads) after he receives a sympathetic letter from him. Like Weedle, Marmaduke has been forced into seclusion by the Falafarinians of Falifarinum, so together they hatch a plan for revenge on those who hurt have them. Weedle then must decide if he will take revenge on those who have wronged him, or if he will live his life in peace. After choosing to take revenge, Weedle feels so bad that he cries. Then, to everyone's amazement, his tears are full of vibrant colors, proving that he had it within himself all the time... Bullying has become an epidemic, causing many children pain. Our story confronts this issue in a fun-filled way, without shying away from the issue at hand. Perhaps, this show is needed now more than ever! It is the hope of the authors that the producers will utilize actors of all genders, abilities/disabilities, and special needs, aiming to entertain and teach an important life lesson to kids: that anything is possible with the right outlook. Teaching children and families to accept people for who they are, no matter what they look like… is vital, especially when the outcome includes forgiveness. From Leicester Bay Theatricals. The most moving theatrical experience... -- Peter Filichia, Broadway Radio The True Colors of Weedle is also available as an illustrated storybook for children in Kindle and Paperback editions. Look for it.
$19.95 ≈
18.08€
Conflusion - Suite - Woodwind Ensemble - Score Only
Conflusion - Suite - Woodwind Ensemble - Score Only
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Thomas Graf
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Thomas Graf
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Conflusion - Suite - Woodwind
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Thomas Graf - the-hit-factory.com
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SheetMusicPlus
Woodwind Ensemble - Level 4 - Digital Download SKU: A0.1115994 By Thomas Graf. By Thomas Graf. Arranged by Thomas Graf. 20th Century,Classical,Jazz. 27 p...
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Woodwind Ensemble - Level 4 - Digital Download SKU: A0.1115994 By Thomas Graf. By Thomas Graf. Arranged by Thomas Graf. 20th Century,Classical,Jazz. 27 pages. Thomas Graf - the-hit-factory.com #717714. Published by Thomas Graf - the-hit-factory.com (A0.1115994). Fantasy in 3 movements for large wind ensemble, double bass and percussion 1. Deux Caracteres 2. Dialogues 3. Dance de Confusion Confluence is the name of a place in Lyon where 2 rivers flow together: The Saône flows into the - at least in German - female Rhone. In French, however, it flows into DEN Rhone - Le Rhône. This confuses the composer: How do rivers get their gender, are they sometimes male, sometimes female? Is it because of their character, because of the landscape that they flow through? By their water, even by their fish? On the people on their shores? A real confusion ensues. In the subsequent thoughts about music, the composer discovers certain analogies and asks himself the question: does gender-typical music actually exist? Or instruments? Typically male harmonies or rhythms? Or clearly female melodies and the way to interpret? The 3-movement composition is dedicated to this question and meanders like a dance in the bed of the converging streams. Colorful modal harmonies form the bed for wide arcs of melody. A varied, recurring theme sets the direction and creates a bubbling, dancing pull in the direction of the mouth: dancing finale! 1st movement: Deux Characters In the first movement (Andante) the roles are distributed - the Sâone and the Rhône get their performers. A first glance at the ensemble reveals a tendency: woodwinds take on the female lead, the male brass the counterpart. The two drummers each support one of the two poles in solidarity. The assignment may be obvious, but strong doubts remain in the final chord of the first movement. 2. Dialogues: In smaller and larger dialogues, there is a lively exchange and the properties are worked out and further developed. But it is also increasingly being copied and imitated, even maliciously agitated and aped. You try to convince each other, interrupt each other, both sides increasingly flare up, it gets louder and more hectic, louder and louder, too loud, until communication stops: in the end, you just yell at each other! 3. Dance de Confusion The resulting confusion finds a conciliatory end in the third movement of the composition: Let's dance! In the end, the initial confusion turns into a confusion: what belongs together flows and dances together. Composed by: Thomas H. Graf Arranged by: Thomas H. Graf for Woodwind Ensemble Instrumentation: Full Score Piccolo Flute 1 Flute 2 Oboe 1 Oboe 2 English Horn Clarinet 1 in Bb Clarinet 2 in Bb Bass Clarinet in Bb Bassoon 1 Bassoon 2 Contrabassoon Trumpet 1 in Bb Trumpet 2 in Bb Trumpet 3 in Bb Trombone 1 Trombone 2 Trombone 3 Tuba Contrabass Perc 1 (Snare Drum, Chimes) Perc 2 (Triangle, Cymbals) Any individual arrangement and substitute parts are available on request. Call +49 (0) 172 2515987  E-Mail: info@the-hit-factory.com.  www.the-hit-factory.com facebook: https://www.facebook.com/hitfactorymusic
$10.00 ≈
9.06€
The Bare Necessities
The Bare Necessities
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Piano solo
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EASY
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Walt Disney
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the way, there are a few bars
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Terry Gilkyson
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Thomas Gunther
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The Bare Necessities
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Thomas Gunther Music Productions
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SheetMusicPlus
Piano Solo - Level 2 - Digital Download SKU: A0.1277927 Composed by Terry Gilkyson. Arranged by Thomas Gunther. Comedy,Film/TV,Jazz. Score. 2 pages. Thom...
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Piano Solo - Level 2 - Digital Download SKU: A0.1277927 Composed by Terry Gilkyson. Arranged by Thomas Gunther. Comedy,Film/TV,Jazz. Score. 2 pages. Thomas Gunther Music Productions #869433. Published by Thomas Gunther Music Productions (A0.1277927). About the arrangement(See also (PopJazzKeys.com/The-Bare-Necessities)This is a relatively easy to play solo piano jazz arrangement of THE BAR NECESSITIES. The song is a traditional jazz tune made famous in the Walt Disney movie THE JUNGLE BOOK. The video and audio recording I posted here features me playing the short version of my arrangement. When played as written (with all the repeats) it is almost 4 minutes long.What's cool about this arrangement is that you can easily add a bass player and even an entire rhythm section while playing it the same way as you would in a solo performance!Who this arrangement is best suited forI think everyone who likes the song except perhaps advanced jazz pianists will have fun learning and playing this arrangement. I arranged this piece originally with my younger piano students in mind, who have smaller hands than most adults. That’s why there are no large intervals or big jumps in the left hand. Something generally found in ragtime and early jazz piano styles. This means that my arrangement is perfectly suited for pianists with smaller hands. Of course pianists with large hands (like myself) can play it too (ha-ha!).I think it is also a great piece for pianists who want to familiarize themselves with playing jazz piano. And since I wrote out every note and articulation, they can play along with the recording and hopefully pick up the traditional jazz feel along the way.Although the arrangement is not very difficult, it poses several challenges for the inexperienced pianist, as explained later.How I arranged itAs I already explained above, there are no large intervals or big jumps in the left hand to be found. Instead, I focused more on polyphonic arranging techniques, in both hands. I also used guide tones and inversions.The left hand imitates the accompaniment style of a traditional jazz guitar or banjo player with added half time bass figures that are typically played by a tuba or upright bass an octave lower. Tips for how to learn this arrangementWhen I teach this song to my students I strongly recommend to them to listen to the original version and my recording a lot, rather than explaining to them how swinging eighth notes and jazz articulation work. By the way, there are a few bars where you hear me playing straight eighths on the recording (as indicated in the sheet music). I decided to add articulations so that pianists who have not a lot of experience with playing jazz will find it easier to play it with the appropriate “touchâ€. It's a good idea to check those out.Should you not be familiar with playing polyphonic passages with one hand, you might want to practice very slowly at first and attempt to balance the different voices appropriately. Listening to the recording will also help with discovering dynamic possibilities. I didn’t want to clutter up the sheet music with dynamic markings, so listening to the recording is really the only way to figure out what dynamics I had in mind.
$4.99 ≈
4.52€
Irish National Anthem (Unofficial) for String Orchestra
Irish National Anthem (Unofficial) for String Orchestra
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String Orchestra
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INTERMEDIATE
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Patriotic
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trad
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Keith Terrett
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Irish National Anthem
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Music for all Occasions
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SheetMusicPlus
String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Keith Terrett. 20th Century, European, Patriotic. Score, Set of Part...
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String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Keith Terrett. 20th Century, European, Patriotic. Score, Set of Parts. 10 pages. Published by Music for all Occasions
Londonderry Air arranged for String Orchestra.
A big band version of the song is used as the theme for The Danny Thomas Show (a.k.a. Make Room For Daddy).
"Danny Boy" was used to represent Northern Ireland at the start of the London 2012 Olympics opening ceremony, sung by a choir of children on the Giant’s Causeway.
On November 25, 2014, the Vancouver Canucks used the song in honor of the recently deceased Pat Quinn, who played and worked in many executive capacities for the team.
There are various theories as to the true meaning of "Danny Boy". Some listeners have interpreted the song to be a message from a parent to a son going off to war or leaving as part of the Irish diaspora.
The 1918 version of the sheet music included alternative lyrics ("Eily Dear"), with the instructions that "when sung by a man, the words in italic should be used; the song then becomes "Eily Dear", so that "Danny Boy" is only to be sung by a lady". In spite of this, it is unclear whether this was Weatherly’s intent.
Why the name Londonderry Air? Londonderry and Derry refer to the same place, a city in the north of Ireland, and also to the surrounding county. Supposedly the city of Derry was founded by St. Colmcille, although archaeological evidence shows that people were living there thousands of years earlier. There is an excellent museum in the city, which is worth a visit if you want to find out more. The name of the city was actually "Doire", corrupted to "Derry" by people who can’t pronounce Irish. It thought to derive from an Irish root meaning "oak tree".
Moving quickly along in history, about a millenium later the government of England was having a difficult time colonizing Ireland because of the fierce and warlike clans living there, especially in the north of the country, Ulster. The monarchs of England, almost all of whom were notorious cheapskates, were continually looking about for ingenious ways to conquer places without actually having to put up the money themselves, or run the risk of unpopularity if they lost. In the case of Ireland, some of these schemes of the "Brish gummit" (as it is termed nowadays in Ulster) are still producing unfortunate long-term consequences.
In 1608, King James I gave the city of Derry to the City of London corporation. I guess the deal could be summed up by saying that if the City of London could figure out a way to chase all the inhabitants out of Derry, they would be allowed to keep the loot, minus a percentage for the King of course. If they lost, well too bad. In celebration of this historic agreement, the name of Derry was officially changed to Londonderry. (For further information, check out the Northern Ireland Tourist Board’s History of Derry.)
The linguistic outcome of all this today is that, if you think that King James’s deal with the City of London was a good idea, you call both the city and county "Londonderry". If you do, you are probably a supporter of the Unionist movement that seeks to keep Ulster a part of the United Kingdom. If you think it was a bad idea, you call both "Derry", and you are probably a supporter of the Irish Nationalist cause. Or you might just be someone who thinks it’s confusing for kings to be going around changing the names of places all the time for no good reason.
You can find plenty of discussion about the political side of the question elsewhere, but here let’s look at the musical side. We have an air, collected in county Derry/Londonderry, and it doesn’t have a title. What do we call it?
If you were a proper Victorian, there’s no way you were going to call it the Londonderry Air, much less the Derry Air, because of the improper sentiments that these titles might suggest. My parents tell me that in their youth in Australia, it was usually called the Air from County Derry. (This would, I suppose, support Winston Churchill’s theory that Australia was inhabited by "convicts and Irishmen".)
My mother also sends the following information, referring to an arrangement of the tune by the Australian composer Percy Grainger:
Just another note about Danny Boy, that I grew up in Australia believing to be the Air from County Derry. We were looking through some LP’s last night (back to vinyl yet!) and found a Mercury Wing Classical Favorites stereo LP SRW18060, COUNTRY GARDENS and other favorites by Percy Grainger {played by} Eastman-Rochester Pops, Frederick Fennell, conducting. The cover notes included the following: "Irish Tune from County Derry was harmonised in memory of Irish childhood friends in Australia." Considered by many to be Grainger’s masterpiece of harmonization, the tune was collected many years ago by Miss Jane Ross of New Town, Limavady, Ireland. Grainger has set it for many instrumental combinations. So there’s another variant on the name for it. It doesn’t say who wrote the notes, but the bits in quotes for each of the works on the record are Grainger’s original comments.
The references to Londonderry Air that I’ve seen don’t go back any earlier than the late 1930s. For example, the Glenn Miller Orchestra recorded Danny Boy (Londonderry Air) in February 1940. Bing Crosby’s version was recorded in July 1941 (reference). (So many different things I could check up on!) Londonderry was an important American naval base during WWII, but the US hadn’t come into the war in 1940.
Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com
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$8.99 ≈
8.15€
Beyond The Sea
Beyond The Sea
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Choral SATB
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INTERMEDIATE/ADVANCED
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Jazz
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Charles Tenet
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Tobi Crawford
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Beyond The Sea
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Tobi Crawford
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SheetMusicPlus
Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1308788 Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. 11 pages. Tobi...
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Choral Choir,Choral (SATB divisi) - Level 4 - Digital Download SKU: A0.1308788 Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. 11 pages. Tobi Crawford #898034. Published by Tobi Crawford (A0.1308788). *Purchase 10 copies to perform this piece with your ensemble of any size*Purchase the instrumental pack (bass and drum part) here: https://www.sheetmusicplus.com/en/product/beyond-the-sea-instrumental-pack-only-22605052.htmlThis arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll. One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea†over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them. Somewhere beyond the seaShe’s there watching for me…It’s far beyond the starsIt’s near beyond the moon And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,†and the song ends with: “and never again I’ll go sailing.†It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan. Performance Suggestions: The improvisation solo in the middle should be free of any traditional “scat syllables†and should be more of a lament. Listen to singers like Aubrey Johnson improvise on ballads for inspiration. An idea for that improv section might be to have a male singer start the improv, then a female singer joins (as if together in heaven) then they sing letter F together (warning: will cause tears…). All solo sections do not have to be sung as written – soloists can take liberties with the melody as the spirit moves.
$10.00 ≈
9.06€
Beyond The Sea *INSTRUMENTAL PACK ONLY*
Beyond The Sea *INSTRUMENTAL PACK ONLY*
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Jazz Ensemble
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INTERMEDIATE/ADVANCED
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Jazz
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Charles Tenet
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Tobi Crawford
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Beyond The Sea *INSTRUMENTAL P
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Tobi Crawford
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1308790 Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. Set of parts. 10 pag...
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Jazz Ensemble Jazz Ensemble - Level 4 - Digital Download SKU: A0.1308790 Composed by Charles Tenet. Arranged by Tobi Crawford. Jazz. Set of parts. 10 pages. Tobi Crawford #898036. Published by Tobi Crawford (A0.1308790). *THIS ACCOMPANIES THE VOCAL ARRANGEMENT* This arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll. One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea†over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them. Somewhere beyond the seaShe’s there watching for me…It’s far beyond the starsIt’s near beyond the moon And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,†and the song ends with: “and never again I’ll go sailing.†It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan. Performance Suggestions: The improvisation solo in the middle should be free of any traditional “scat syllables†and should be more of a lament. Listen to singers like Aubrey Johnson improvise on ballads for inspiration. An idea for that improv section might be to have a male singer start the improv, then a female singer joins (as if together in heaven) then they sing letter F together (warning: will cause tears…). All solo sections do not have to be sung as written – soloists can take liberties with the melody as the spirit moves.
$30.00 ≈
27.19€
Beyond The Sea
Beyond The Sea
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Piano solo
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INTERMEDIATE/ADVANCED
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Bobby Darin
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Tobi A Crawford
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Beyond The Sea
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Tobi Crawford
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SheetMusicPlus
Piano - Level 4 - Digital Download SKU: A0.1398436 By Bobby Darin. By Albert Lasry, Charles Trenet, and Jack Lawrence. Arranged by Tobi A Crawford. Conte...
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Piano - Level 4 - Digital Download SKU: A0.1398436 By Bobby Darin. By Albert Lasry, Charles Trenet, and Jack Lawrence. Arranged by Tobi A Crawford. Contemporary,Jazz. Score (Chords/Lyrics). 7 pages. Tobi Crawford #981711. Published by Tobi Crawford (A0.1398436). This arrangement came to me over a number of weeks in a very organic way that began with the ostinato piano figure that prevails throughout the piece. I began playing it unattached to any tune and I just liked the way the line descended in the left hand and how I had to find voicings in the right hand that made harmonic sense – like a puzzle. As I was playing around with this puzzle, thoughts of my father were swirling around in my head – I was at the end of a 4 year period of separation from my parents owing to the fact that I’m a Canadian expat living in the US and the borders were closed for a long time because of Covid, and then I had work visa issues and my parents were getting older before my eyes. They were also losing friends to cancer and other ailments and my dad, in particular, had experienced the loss of many close family members and friends during our separation and it was taking a toll. One day I sat down and played the now familiar-to-me ostinato but randomly I started to sing “Beyond the Sea†over it and it fit perfectly. I thought it a happy coincidence. As the days went on I committed to putting my ostinato with Beyond the Sea and the lyrics started to seep into my brain. I have, of course, heard these lyrics many times before, (who hasn’t seen Finding Nemo?) but the lyrics didn’t mean what I thought they meant… They’re NOT about the ocean, they are about my dad!!! Well, kind of… I realized, through careful reflection and by slowing the words down, that the lyrics are talking about a person in heaven who is patiently waiting for their partner to join them. Somewhere beyond the seaShe’s there watching for me…It’s far beyond the starsIt’s near beyond the moon And the lyrics end with them meeting, “We’ll meet beyond the shore, we’ll kiss just like before,†and the song ends with: “and never again I’ll go sailing.†It’s like the big bang went off in my head about why all these thoughts of my dad, and his friends, and this arrangement, and what it all meant suddenly just MADE SENSE and I was able to start formulating a plan. Performance Suggestions: The improvisation solo in the middle should be free of any traditional “scat syllables†and should be more of a lament. Listen to singers like Aubrey Johnson and Sara Gazarek improvise on ballads for inspiration.
$25.00 ≈
22.66€
Alleys
Alleys
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Alto voice, Piano
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INTERMEDIATE
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Sydney Stevens
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Alleys
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Sydney Stevens, Water Music
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SheetMusicPlus
Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859665 Composed by Sydney Stevens. Folk,New Age,Pop. 10 pages. Sydney Stevens, Water Music #29...
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Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859665 Composed by Sydney Stevens. Folk,New Age,Pop. 10 pages. Sydney Stevens, Water Music #2959555. Published by Sydney Stevens, Water Music (A0.859665). Contact: sydneystevenspianostudio@gmail.comAlleys: Deeply heartfelt piano/vocal composed by Sydney Stevens (ASCAP). Sheet music is arranged for piano/vocal/chords. From Album: Cycles of Life Theme: Coming into one's own: Alleys, back roads of our lives they find us.. Mood: Contemplative, soulful. Nurturing one's own strength. Musical Traits: Major key that modulates into a minor interlude. Right hand reflects the vocal line. Performance Time: 5:07 Sydney Stevens music is available on: Pandora, Spotify, iTunes, Amazon, Whisperings Solo Piano Radio, AllMusicMore Links: www.sydneystevenswatermusic.comhttp://www.linkedin.com/in/sydney-stevens-532a113aBIOGRAPHY:Sydney Stevens began writing melodies on the piano before she could reach the pedals. Her earliest memory was watching her mother play classical piano. She began piano lessons at the age of 8, and started composing shortly thereafter.Stevens approaches her compositions as an artist. She paints musical portraits of the things that bring meaning to life: relationship to living things, emotional healing, discovering what matters most and honoring that as best we are able. Stevens' beautiful piano-based music aligns one with their own heart. Although some of her music can be described as New Age, her roots are heavily based in classical and jazz. Her study of classical composition makes her music more complex than some New Age music. Her music has been likened to the impressionistic composers such as Claude Debussy. Sydney's formal training is also reflected in her ability to compose for orchestral instruments. Her latest release, Cycles of Life, was solely recorded and produced by Sydney, programming all of the virtual instruments.Sydney has a great love for jazz. Keith Jarrett was an influence on her with his innovative and improvisational piano recordings and performances. She was particularly impressed with the freedom of style he portrayed in his performances. Bill Evans was something Sydney heard played as a young child. Where her mother was a classical pianist, her father was a jazz pianist. Perhaps that's why some of Sydney’s music can be described as a crossover between classical and jazz--remnants from those early years. Joni Mitchell and Judy Collins were big inspirations for Sydney's songwriting. She was especially drawn to the deeply emotional lyrics in many of their songs.Cycles of Life, the title track from Sydney's current release, was composed for her late step dad. The song is about the cycle of birth and death: Cycles of life go on, yet we carry all that we've known and loved through the ages. Time, another track on Sydney's current release, is a song about how time passes more quickly when we are doing something we cherish. Brian's Song, inspired by the loss of her father-in-law, reflects: All that really matters is the way we fill our heart, and the ways that it has loved. Dawn, a track from Sydney's album Seasons, is a beautiful piano-based instrumental with light string background. It portrays that very peaceful hour as the sun slowly lights up the world -- the hour of dawn.Sydney is a poet. She sees the world through a heart that feels the joy and sorrow of the world and those she meets. Her gift is the ability to transfer that emotion into music. Listening to her music is like taking a journey. She delves into depths of emotion, often taking the listener to places that can be difficult to go without the comfort of a beautiful song to.
$4.95 ≈
4.49€
Heartbreaker
Heartbreaker
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Pat Benatar
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Sarah Cellobat Chaffee
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Heartbreaker
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Sarah Cellobat Chaffee
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SheetMusicPlus
String Ensemble Cello - Level 4 - Digital Download SKU: A0.1250783 By Pat Benatar. By Cliff Wade and Geoff Gill. Arranged by Sarah Cellobat Chaffee. Cont...
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String Ensemble Cello - Level 4 - Digital Download SKU: A0.1250783 By Pat Benatar. By Cliff Wade and Geoff Gill. Arranged by Sarah Cellobat Chaffee. Contemporary,Film/TV,Pop,Rock,Video Game. 27 pages. Sarah Cellobat Chaffee #845047. Published by Sarah Cellobat Chaffee (A0.1250783). *INSTRUMENTATION: 4 CELLOS*Heartbreaker, one of the most iconic songs in female rock history, was released by Pat Benatar as a single from her debut album in 1978. Originally released by an English singer named Jenny Darren, Benatar's cover proved to be her breakthrough song; it topped the Billboard charts for nearly 5 weeks and was ultimately named one of VH1's 100 best hard rock songs of all time. It has since been featured in video games, movies, TV shows, movies, and has generally become a staple of pop culture -- and now you can rock out on it with your cello buddies! This Cellobat arrangement for cello quartet is just as hard-hitting as the original, with epic vocal lines, powerful harmonies, a driving rock beat, and even a fun guitar solo. I guarantee your group will have a blast! Rated advanced-intermediate for tenor/treble clef and basic thumb position in some of the parts; this will be learnable for students and easily sightreadable for professionals.Why choose Cellobat Charts arrangements? For any musician who knows what they're doing, the answer is easy: just listen to them. Every freelance musician has thrown hard-earned money away on questionable, error-filled charts by unknown arrangers from weird corners of the Internet. But watch out -- inferior arrangements not only make gigs less enjoyable to play, but they also make your group sound bad to your client and audience, no matter how great your players really are. That's why Cellobat Charts is here: to provide students and working string players alike with high-quality versions of highly requested music. My arrangements are guaranteed to be energetic, fun to play, and enjoyable to listen to, whether or not you're familiar with the original songs. Hear the difference for yourself! Full videos of many Cellobat Charts arrangements are available on YouTube so you know exactly what you're getting. Click Watch near the item details at the top of the page for full video of Heartbreaker. Crowd pleasing guaranteed.Sarah “Cellobat†Chaffee is an in-demand acoustic & electric cellist and string arranger. Currently, she performs with legendary rock band Aerosmith in their “Deuces Are Wild†residency show, and she is the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays with many other groups including Premiere Wedding Music, Bella Electric Strings, the Femmes Of Rock, and David Perrico’s Pop Strings Orchestra. Sarah has performed and recorded with numerous other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Michael Bublé, Sarah Brightman, and Lady A. She is the exclusive arranger for a number of award-winning wedding and event companies all across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles all over the world. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobat.
$16.99 ≈
15.40€
The Girl I Mean To Be
The Girl I Mean To Be
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Concert band
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EASY
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The Secret Garden Ensemble
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Alberto Caeiro
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The Girl I Mean To Be
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Alberto Caeiro
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SheetMusicPlus
Concert Band - Level 2 - Digital Download SKU: A0.1282254 By The Secret Garden Ensemble. By Lucy Simon and Marsha Norman. Arranged by Alberto Caeiro. Bro...
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Concert Band - Level 2 - Digital Download SKU: A0.1282254 By The Secret Garden Ensemble. By Lucy Simon and Marsha Norman. Arranged by Alberto Caeiro. Broadway,Musical/Show,New Age. Score and Parts. 34 pages. Alberto Caeiro #873559. Published by Alberto Caeiro (A0.1282254). This arrangement for orchestra and voice, is made for young and youth orchestra, with a simple and homogeneous writing.The orchestral formation contains:2 flutes2 oboes3 clarinets1 bass clarinet2 Saxophones3 trumpets2 horns2 trombones1 euphonium1 tuba4 percussion instruments1 Solo VoiceThe entire arrangement is mindful of the range of the instruments, making it not too difficult to play and allowing for the exploration of the timbres of the woodwind and brass instruments.The arrangement has a different introduction and ending than the original, but it does not change the tonality or form of the original piece. This makes it more interesting by incorporating percussion in both parts.The Secret Garden is a musical based on the 1911 novel of the same name by Frances Hodgson Burnett. The musical's script and lyrics are by Marsha Norman, with music by Lucy Simon. It premiered on Broadway in 1991 and ran for 709 performances. The story is set in the early years of the 20th century.The Girl I mean to be is a powerful and inspirational song about self-discovery and empowerment. The song is a ballad about a young woman struggling to find her place in the world. She constantly feels judged and compared to others, and she's tired of feeling like she's not good enough.However, the song's protagonist eventually realizes that she is the only one who can define who she is. She sings, I'm the only one who knows what I want to be. She realizes that she doesn't need to change herself to please others. She is perfect the way she is.The song ends with the protagonist declaring that she is going to be the girl she wants to be. She sings, I'm gonna be the girl I wanna be, no matter what they say. She is determined to be herself, no matter what others think.
$79.99 ≈
72.49€
On That Cross
On That Cross
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Choral SSATTB
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EASY
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Sacred music
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Stuart Richard Brown
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Stuart Richard Brown
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On That Cross
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Stuart Brown Music
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SheetMusicPlus
Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182868 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Chri...
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Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182868 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Christian,Easter,Praise and Worship,Religious,Sacred. 12 pages. Stuart Brown Music #782616. Published by Stuart Brown Music (A0.1182868). Re-published specially for Easter 2023, this is a profoundly beautiful piece for 6-part choir and piano. The composer writes:'On That Cross' is a powerful reflection on the crucifixion of Jesus Christ. I came up with the lyrics at around 3am in the morning of 3rd December 2014 sitting at a desk in room 703 of the De Syloia Hotel in Hanoi, Vietnam. Often I find that my periods of working abroad give me the space to think of things in new ways. This song is a good example of that. One look at the first page of the score of 'On That Cross' is all you need to realize that this is not a case of a choir singing with a piano accompaniment. I put the piano part above the choir in order to dispel that misconception. So if it's not that, what is it? I wanted to demonstrate that it is possible to approach a subject from two completely different points of view, without either point of view being compromised by the other, and yet the result can nevertheless be a beautiful synergy. That is what the pianist and the choir are doing here. Each is meditating upon the cross of Christ, but from two totally unrelated points of view and yet somehow combining in a way that is almost hypnotically beautifully. There is little obvious relationship between the choir's and the piano's music; and yet each is reconciled to the other ... and there's a very good reason why I wanted the music to speak of such reconciliation.In late 2014 people in Iraq were being beheaded, crucified and generally killed in the most brutal and sadistic manner possible. Their only â??crimeâ?? was to dare to call themselves Christians. You can say what you like but in my book nobody has the right to tell anybody else what they should believe, much less murder them on religious grounds. The thing that incensed me almost to the point of incandescence was that the perpetrators of this unspeakable evil dared to justify their actions by claiming that they were acting on behalf of their god. So in such frame of mind I started to write the lyrics to 'On That Cross'.The first words that came into my mind were â??Oh men who dare to call on gods to justify your hatred â?? of this be sure â?¦â? and I wanted to follow that with threats of eternal damnation, torture in hellfire and so on. Except that the words that flowed out of my fingers onto my computer screen were not like that at all. â??Of this be sure â?? I love you still, my cross your salvation from all the sin of man.â?It doesnâ??t get much more powerful than that. I may be incapable of loving the people of ISIS, ISIL, DAESH or whatever one calls them, but my God isnâ??t. He created them, he sent his Son to die for them â?¦ and he is even now ready to save them, as he is you and me. Thatâ??s grace.A small group of us sang this at a Good Friday united service in 2016. We sang it unannounced, at the end of the service, when one would have expected people to start getting up from their seats and leaving the church. Nobody did. Not one single person moved while we sang..
$3.00 ≈
2.72€
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