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No Beer No Work
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• Beer, Madison
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You've selected:
No Beer No Work
Sheetmusic to print
8 sheet music found
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1
No Beer--No Work
No Beer--No Work
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Piano, Voice
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Sammy Edwards
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Sammy Edwards
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No Beer--No Work
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice - Digital Download SKU: LV.23781 Composed by Sammy Edwards. Bars, Hotels & taverns, Business enterprises, City & town life, Prohibition, ...
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Piano and voice - Digital Download SKU: LV.23781 Composed by Sammy Edwards. Bars, Hotels & taverns, Business enterprises, City & town life, Prohibition, Alcoholic beverages, Anger. Lester S. Levy Collection. 3 pages. Published by Johns Hopkins University Sheridan Libraries (LV.23781). No Beer--No Work. By Sammy Edwards. Published 1919 by Emmett J. Welch, Wilson Building, 15th St., Below Chestnut St. in Philadelphia. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Bars, Hotels & taverns, Business enterprises, City & town life, Prohibition, Alcoholic beverages, Anger. First line reads Johnny Hymer was a miner always on the job.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99 ≈
5.52€
In Heaven There Is No Beer
In Heaven There Is No Beer
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Ernst Neubach and Ralph Maria
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Aaron Hettinga
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In Heaven There Is No Beer
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Aaron Hettinga
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SheetMusicPlus
Rhythm Section,Small Ensemble Tenor Saxophone,Trumpet - Level 3 - Digital Download SKU: A0.782070 Composed by Ernst Neubach and Ralph Maria Siegel. Arran...
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Rhythm Section,Small Ensemble Tenor Saxophone,Trumpet - Level 3 - Digital Download SKU: A0.782070 Composed by Ernst Neubach and Ralph Maria Siegel. Arranged by Aaron Hettinga. 20th Century,Contemporary,Multicultural,Standards,World. Score and parts. 8 pages. Aaron Hettinga #6498703. Published by Aaron Hettinga (A0.782070). This fun polka classic is presented here in an arrangement for Trumpet, Tenor Sax, along with a flexible Rhythm/Vocal Lead Sheet. The singalong fun of this edition closely follows the key and form of the Frankie Yankovic recording, but the horn parts fill in to substitute for the role of the accordion. Will work just fine without vocals as a full instrumental if so desired.
$14.99 ≈
13.80€
Škoda lásky (Rosamunde, Beer Barrel Polka)
Škoda lásky (Rosamunde, Beer Barrel Polka)
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Brass quartet : 2 trumpets, trombone, tuba
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INTERMEDIATE
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Jaromir Vejvoda
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F
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Škoda lásky
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Sweetwater Brass Press
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1033890 Composed by Jaromir Vejvoda. Arranged by F. Leslie Smith. Holiday,...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1033890 Composed by Jaromir Vejvoda. Arranged by F. Leslie Smith. Holiday,Pop,Wedding. Score and parts. 41 pages. Sweetwater Brass Press #639202. Published by Sweetwater Brass Press (A0.1033890). Jaromir Vejvoda, born in 1902 in the Czech city of Zbraslav, was a fiddler and flugelhorn player. As a young man, he began writing music while working as a bartender. In 1927 he composed a particularly rollicking, toe-tapping tune. He persuaded the Czech-American composer Eduard Ingriš to write an arrangement for the piece, and the result was titled "ModÅ™anská polka" (ModÅ™any being the Prague suburb in which it was first performed). In 1934 Václav Zeman added lyrics, and the title changed to "Škoda lásky," Czech for “Wasted Love.” It also became known as “Rosamunde.” The public loved it. It was so successful that Vejvoda was able to quit tending bar and turn full time to music. The polka soon spread to other countries. Lew Brown and Wladimir Timm added English lyrics, and when the Andrews Sisters recorded it in 1939 as “Beer Barrel Polka,” it became one of their biggest hits. During World War II it was the favorite song of the Western Allies and has since been played and recorded by literally dozens of artists. Suggested tempo for this brass quintet “Škoda lásky” is 120 BPM. It opens in C major, changes to F major, then back to C. All five instruments get a chance to shine. There are no really tricky rhythmic patterns, and the notes are, for the most part, within the normal playing range of each instrument. Some possible exceptions: Trombone’s highest notes are F above the staff; it’s lowest, G at the bottom; Tuba’s highest notes are F in the staff; Trumpet 2’s highest are its G at the top of its staff. Completed in 2022, performance time runs about 3 minutes. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge. He would also like to receive your suggestions, comments, corrections and criticisms. Contact him directly at lessmith61@bellsouth.net. For more arrangements by Les, enter "Sweetwater Brass Press" (without the quotation marks) in the search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.)
$7.95 ≈
7.32€
Beer Barrel Polka (roll Out The Barrel)
Beer Barrel Polka (roll Out The Barrel)
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Bobby Vinton
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Aaron Hettinga
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Beer Barrel Polka
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Aaron Hettinga
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SheetMusicPlus
Rhythm Section,Small Ensemble Tenor Saxophone,Trumpet - Level 3 - Digital Download SKU: A0.1045350 By Bobby Vinton. By Jaromir Vejvoda, Lew Brown, Vasek ...
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Rhythm Section,Small Ensemble Tenor Saxophone,Trumpet - Level 3 - Digital Download SKU: A0.1045350 By Bobby Vinton. By Jaromir Vejvoda, Lew Brown, Vasek Zeman, and Vladimir A. Timm. Arranged by Aaron Hettinga. Folk,Standards,Traditional,Wedding. Score and parts. 8 pages. Aaron Hettinga #649929. Published by Aaron Hettinga (A0.1045350). THE polka classic! Beer Barrel Polka is presented here in an arrangement for Trumpet, Tenor Sax, along with a flexible Rhythm/Vocal Lead Sheet. The key and form of this edition fairly closely follows the recording by The Emeralds. The familiar singalong section is likely to get a whole bunch of partiers singing right along with your ensemble. Will work just fine without vocals as a full instrumental if so desired. Every Polka band should have this chart at the ready at all times as it gets requested so often. Other than a written high “D†in the trumpet part, there are no other notable extreme range or technical challenges in this arrangement for the most part, so even fairly young ensembles could use this to include some polka fun on a German band performance. Ready to go for your Oktoberfest gig!
$14.99 ≈
13.80€
The Story of a Leader
The Story of a Leader
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Choral SATB
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ADVANCED
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Classical
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Igor Korneitchouk
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The Story of a Leader
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Studio at the Post
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1143904 Composed by Igor Korneitchouk. 20th Century,A Cappella,Contemporary,Religious. Octavo. 3...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1143904 Composed by Igor Korneitchouk. 20th Century,A Cappella,Contemporary,Religious. Octavo. 37 pages. Studio at the Post #744209. Published by Studio at the Post (A0.1143904). Duration: 16 minutes, 33 pp. Description: Exodus is a great story that belongs to everyone. Not only is it central to Judaism, not only is it integral to the Christian Bible, it is an immortal story that has been, and continues to be, an inspiration to oppressed peoples everywhere on this planet. It is relevant not just as ancient scripture but as living text, to be rediscovered by each new generation of an ever-widening Family of Man. The theme of struggle against oppression and slavery was just as relevant to the early Christians persecuted in Ancient Rome as it was relevant to the American Civil Rights movement of the 1960's, just as relevant to the Soviet Jews wishing to emigrate as it is to the South African Blacks resisting Apartheid. From the Dark Ages and the Spanish Inquisition, to Ghandi's emancipation of India, to the Holocaust, to, full-circle, the ongoing struggles in Palestine today, the story of Exodus is a guiding light in a dim and often grim world. According to the composer: The Story of a Leader is a collection of ‘re-chorales’ I created one summer when I was totally immersed in a post-educational obsession with the 371 Chorales by Johann Sebastian Bach. We used to study these to learn the rules of harmony and voice-leading (no parallel fifths, avoid crossed voices, etc.) at the Cleveland Institute of Music where I began my compositional career. That summer, now a professor of music in my own right, I discovered many broken and bent rules by the master himself and, along with the glory of being able to work through these Chorales myself at the piano, I felt an incredible feeling of liberation and possibilities unmediated by instructors of music theory. I began by stripping away all that Bach wrote, leaving only the hymn tunes which were not his to begin with. These tunes existed long before Bach used them for his tonal experiments, some attributed to Martin Luther, or someone else, others simply listed as ‘anonymous’. The same is true for the texts, which were then translated into English mostly in the 19th century (the provenance of each can be found herein on the first page of each of my reharmonizations). In some cases I modified the text to fit the context. I selected 12 of these ‘re-chorales,’ linking them together based on their texts in a kind of logic that worked for me, and created a narrative that told The Story of a Leader (Moses). This story is highlighted in the music with such techniques as cross-modal harmonies, points of imitation, a beer drinking song in one instance, and in another, to symbolize the parting of the seas for Moses’ people, an inversion of the soprano line in the bass..
$15.04 ≈
13.85€
Bluey Brink - String Ensemble Score and Parts PDF
Bluey Brink - String Ensemble Score and Parts PDF
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String Orchestra
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INTERMEDIATE
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Folkloric/Traditional
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Traditional Australian Folk So
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Brendan Elliget MAGA 537
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Bluey Brink - String Ensemble
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BJE Music
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SheetMusicPlus
String Orchestra - Level 3 - Digital Download SKU: A0.750848 Composed by Traditional Australian Folk Song. Arranged by Brendan Elliget MAGA 537. Folk. Sc...
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String Orchestra - Level 3 - Digital Download SKU: A0.750848 Composed by Traditional Australian Folk Song. Arranged by Brendan Elliget MAGA 537. Folk. Score and parts. 11 pages. BJE Music #3911423. Published by BJE Music (A0.750848). There once was a shearer by name Bluey Brink.A devil for work and a terror for drink.He could shear a full hundred each day without fear.And drink without winking four gallons of beer A traditional Australian Folksong which has several tune variations. I chose to arrange this version of the tune for String Ensemble because of its haunting nature. The arrangement is for Violin 1, Violin 2, Violin 3 (sub for Viola), Viola, Cello and Double Bass. If you use this arrangement, please let me know how it goes! The same tune is also used in my Australian Folksong Medley No. 4 for Orchestra, Concert Band and Brass Band…Can be performed by a String Quartet, Quintet or bigger group as well. The MP3 was recorded with Sibelius Sounds. Grade = 3.5 Duration = 1:45 mins
$5.50 ≈
5.06€
Watermelon Man for Clarinet Quintet & Opt. Drumset
Watermelon Man for Clarinet Quintet & Opt. Drumset
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Clarinet Quintet: 5 clarinets
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INTERMEDIATE
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Jazz
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Herbie Hancock
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Keith Terrett
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Watermelon Man for Clarinet Qu
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Music for all Occasions
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SheetMusicPlus
By Herbie Hancock. Arranged by Keith Terrett. Score, Set of Parts. 22 pages. Published by Music for all Occasions ...
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By Herbie Hancock. Arranged by Keith Terrett. Score, Set of Parts. 22 pages. Published by Music for all Occasions
Arranged for Clarinet Quintet & optional drumset, "Watermelon Man" is a jazz standard written by Herbie Hancock, first released on his debut album, Takin' Off (1962), in a grooving hard bop version that featured improvisations by Freddie Hubbard and Dexter Gordon.
A single of the tune reached the Top 100 of the pop charts. Cuban percussionist Mongo Santamaría released the tune as a latin pop single the next year on Battle Records, where it became a surprise hit, reaching #10 on the pop charts. Santamaría's recording was inducted into the Grammy Hall of Fame in 1998. Hancock radically re-worked the tune, combining elements of funk, for the album Head Hunters (1973).
Hancock's first version was released as a grooving hard bop record, and featured improvisations by Freddie Hubbard and Dexter Gordon. A single reached the Top 100 of the pop chart. Cuban percussionist Mongo Santamaría released the tune as a Latin pop single and it became a surprise hit, reaching No. 10 on the pop chart.[2] Santamaría's recording was inducted into the Grammy Hall of Fame in 1998. Hancock radically re-worked the tune, combining elements of funk, for the album Head Hunters (1973).
Hancock wrote the piece to help sell his debut album as a leader, Takin' Off (1962), on Blue Note Records; it was the first piece of music he had ever composed with a commercial goal in mind. The popularity of the piece, due primarily to Mongo Santamaría, paid Hancock's bills for five or six years. Hancock did not feel the composition was a sellout however, describing that structurally, it was one of his strongest pieces due to its almost mathematical balance.
The form is a sixteen bar blues. Recalling the piece, Hancock said, "I remember the cry of the watermelon man making the rounds through the back streets and alleys of Chicago. The wheels of his wagon beat out the rhythm on the cobblestones." The tune, based on a bluesy piano riff, drew on elements of R&B, soul jazz and bebop, all combined into a pop hook. Hancock joined bassist Butch Warren and drummer Billy Higgins in the rhythm section, with Freddie Hubbard on trumpet and Dexter Gordon on tenor saxophone. Hancock's chordal work draws from the gospel tradition, while he builds his solo on repeated riffs and trilled figures.
Hancock filled in for pianist Chick Corea in Mongo Santamaría's band one weekend at a nightclub in The Bronx when Corea gave notice that he was leaving. Hancock played the tune for Santamaría at friend Donald Byrd's urging. Santamaría started accompanying him on his congas, then his band joined in, and the small audience slowly got up from their tables and started dancing, laughing and having a great time. Santamaría later asked Hancock if he could record the tune. On December 17, 1962, Mongo Santamaría recorded a three-minute version, suitable for radio, where he joined timbalero Francisco "Kako" Baster in a cha-cha beat, while drummer Ray Lucas performed a backbeat. Santamaría included the track on his album Watermelon Man (1962). Santamaría's recording is sometimes considered the beginning of Latin boogaloo, a fusion of Afro-Cuban rhythms with those of R&B
Hancock re-recorded the tune for Head Hunters (1973), combining synthesizers with a Sly Stone and James Brown funk influence, adding an eight-bar section. Hancock described his composition "Chameleon", also from Head Hunters, to Down Beat magazine in 1979: "In the popular forms of funk, which I've been trying to get into, the attention is on the rhythmic interplay between different instruments. The part the Clavinet plays has to fit with the part the drums play and the line the bass plays and the line that the guitar plays. It's almost like African drummers where seven drummers play different parts"; "Watermelon Man" shares a similar construction. A live version was released on the double LP Flood (1975), recorded in Japan.
On the intro and outro of the tune, percussionist Bill Summers blows into beer bottles imitating hindewhu, a style of singing/whistle-playing found in Pygmy music of Central Africa. Hancock and Summers were struck by the sound, which they heard on the ethnomusicology LP, The Music of the Ba-Benzélé Pygmies (1966), by Simha Arom and Geneviève Taurelle.
This version was often featured on The Weather Channel's Local on the 8s segments.
The tune is a jazz standard and has been recorded over two hundred times. Hancock's recording has been sampled in "1-900-LL-Cool-J" from Walking with a Panther (1989) by LL Cool J, "Open Your Eyes" from Organized Konfusion (1991) by Organized Konfusion, "Smoke Some Kill" from Smoke Some Kill (1988) by Schoolly D, and "Pocket Full of Furl" from Uptown 4 Life (1996) by U.N.L.V. In 2003, pianist David Benoit covered the song from his album Right Here, Right Now.
A live and funky performance at the 1999 Montreux Jazz Festival Casino Lights '99 featured Fourplay, George Duke, Boney James and Kirk Whalum trading choruses, and Rick Braun.
$14.99 ≈
13.80€
Selected Operatic Fantasies of Mertz
Selected Operatic Fantasies of Mertz
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Guitar
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INTERMEDIATE
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Classical
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Johann Kaspar Mertz
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Selected Operatic Fantasies of
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
By Johann Kaspar Mertz (1806-1856). For Guitar (Classical). Classic. 56 pages. Published by Mel Bay Publications - Digital Sheet Music ...
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By Johann Kaspar Mertz (1806-1856). For Guitar (Classical). Classic. 56 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609743260. This collection is drawn from the Portefeuille Guitarre-Spieler series and is intended for intermediate to advanced guitarists.The works in this collection:Fantasy on themes from Don Giovanni, Op. 28Don Giovanni has long been famous among enthusiasts of fretted instruments for Mozart's sublime use of the mandolin in Don Juans' aria Deh, vieni alla finestra. Mertz himself took note of Mozart's 'mandolin serenade' for he employed as a catalyst a brief quote of the mandolin introduction in his Op. 28 for a modulatory transition based upon the theme. Mertz also included a simple arrangement of the aria as number 76 in his Kukuk, a 'musical panorama' of 136 short pieces.Martha, Op. 16Martha, oder Der Markt zu Richmond by German composer Friedrich Flotow (1812-1883) was first produced in Vienna in 1847. In the second act of Martha Flotow incorporates 'Tis the Last Rose of Summer (Qui sola, verginrosa), a traditional Irish melody to which the poet Thomas Moore wrote lyrics. It was one of the most popular songs of the nineteenth century. In addition to Beethoven, Mendelssohn, and Thalberg, guitar composers to produce works based upon the famous song include Giuliani, Ferranti, Holland, and Foden. Preceding Ah! che a voi perdoni Iddio in his Op. 16, Mertz quotes a brief passage from his Elegie.The Prophet, Op. 21Giacomo Meyerbeer was the leading composer of French grand opera during Mertz's professional career. Following studies in Italy, the German composer was chiefly active in Paris and Berlin, although he traveled Europe extensively producing his operas. Le prophete premiered in Paris in 1849 after a long delay due to casting problems. Mertz's Op. 21 was published shortly thereafter.Nabucco, Op. 62 and Rigoletto, Op. 63Giuseppe Verdi's first major triumph as an opera composer was with the biblical opera Nabucodonosor (more commonly known as Nabucco). The opera was premiered in Milan in 1842 and its subsequent revivals throughout Europe spread Verdi?s fame at an astounding rate. Consequently, Verdi was commissioned to compose 14 operas in the following decade. Among these operas was Rigoletto, first produced in Venice in 1851. Mertz frequently turned to the music of Verdi for his operatic fantasies, producing no fewer than four distinct works based on themes from Rigoletto alone.
$14.99 ≈
13.80€
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