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You've selected:
That's Something Anyway
Sheetmusic to print
15 sheet music found
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1
That's Something Anyway
That's Something Anyway
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Piano solo
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INTERMEDIATE
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New Age
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Contemporary
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Joel Walton
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Joel Walton
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That's Something Anyway
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Bur Oak Music
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1121669 Composed by Joel Walton. Arranged by Joel Walton. Contemporary,New Age. Score. 5 pages. Bur Oak M...
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Piano Solo - Level 3 - Digital Download SKU: A0.1121669 Composed by Joel Walton. Arranged by Joel Walton. Contemporary,New Age. Score. 5 pages. Bur Oak Music #722854. Published by Bur Oak Music (A0.1121669).
$3.99
Yesterday's Future
Yesterday's Future
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Piano solo
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EASY
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New Age
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Contemporary
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Damien Gauci
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Yesterday's Future
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Damien Gauci
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SheetMusicPlus
Piano - Level 2 - Digital Download SKU: A0.1408122 By Damien Gauci. By Damien Gaucio. Contemporary,New Age. Full Performance. Duration 184. Damien Gauci ...
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Piano - Level 2 - Digital Download SKU: A0.1408122 By Damien Gauci. By Damien Gaucio. Contemporary,New Age. Full Performance. Duration 184. Damien Gauci #990692. Published by Damien Gauci (A0.1408122). This is my second piece that I have wrote for piano and in general. The reason I chose the name Yesterday's Future is basically because I wanted to write a piece where it portrays moving on from something happening in you life. If I were to write it again, I would probably change up the melody a bit halfway through to make it more interesting, but nonetheless, I am pretty happy with it.As the theme continues throughout the whole the piece, changing very subtly, it resembles something you need to let go of. At the end of the piece with the held right hand and moving left hand, I wanted to make that part sound like it is moving on with the dynamics changing to resemble anger and relief. Anyway, thanks again for listening, hope you enjoyed it and there is much more to come!
$1.99
Yesterday's Future
Yesterday's Future
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Piano solo
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Contemporary
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Damien Gauci
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Yesterday's Future
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Damien Gauci
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SheetMusicPlus
Piano Solo - Digital Download SKU: A0.1014879 Composed by Damien Gauci. Contemporary. Score. 4 pages. Damien Gauci #4641457. Published by Damien Gauci (A...
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Piano Solo - Digital Download SKU: A0.1014879 Composed by Damien Gauci. Contemporary. Score. 4 pages. Damien Gauci #4641457. Published by Damien Gauci (A0.1014879). This is my second piece that I have wrote for piano and in general. The reason I chose the name Yesterday's Future is basically because I wanted to write a piece where it portrays moving on from something happening in you life. If I were to write it again, I would probably change up the melody a bit halfway through to make it more interesting, but nonetheless, I am pretty happy with it. As the theme continues throughout the whole the piece, changing very subtly, it resembles something you need to let go of. At the end of the piece with the held right hand and moving left hand, I wanted to make that part sound like it is moving on with the dynamics changing to resemble anger and relief. Anyway, thanks again for listening, hope you enjoyed it and there is much more to come!
$2.00
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
Fire in the House
Fire in the House
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Piano solo
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INTERMEDIATE/ADVANCED
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Damien Gauci
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Fire in the House
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Damien Gauci
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1425908 By Damien Gauci. By Damien Gauci. Classical,Contemporary. Score. 5 pages. Damien Gauci #1006672. ...
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Piano Solo - Level 4 - Digital Download SKU: A0.1425908 By Damien Gauci. By Damien Gauci. Classical,Contemporary. Score. 5 pages. Damien Gauci #1006672. Published by Damien Gauci (A0.1425908). There’s a funny little story with how I wrote this piece. I’ve got these dice called ‘Rory’s Story Cubes’ which have little pictures on them and they’re meant to be an ice breaker where you roll the dice and come up with a story based on the images that come up. Anyway, I thought of using them to help me come up with an idea for a new composition. So I rolled some of the dice and there was a picture of a fire, a house, and someone running - something like that, I can’t remember exactly what the pictures were. Then that prompted me to write this composition: ‘Fire in the House’. It was a great way to try something new and write something that I never would have thought to write if it were not for those dice.Through the piece I have written little annotations to explain what is happening in the story of the piece of music and the scene I was trying to reflect in the music. It was a fun little piece to write and I really enjoyed using the dice to come up with a story for me to write about - I should definitely do it more often to try something new and get out of my comfort zone. I highly recommend you pick some up one day if you write music too - they’re a great tool to have!
$1.99
VALS FRÅN DREFVIKEN
VALS FRÅN DREFVIKEN
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Lars Ek
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VALS FRÅN DREFVIKEN
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Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB
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SheetMusicPlus
Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068894 Composed by Lars Ek. Folk,World. Full Performance. Duration 225. Lars Ek Cosmos Music c/o...
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Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068894 Composed by Lars Ek. Folk,World. Full Performance. Duration 225. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1921499. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068894). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
$1.99
LÄTTA FINGRAR
LÄTTA FINGRAR
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Lars Ek
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LÄTTA FINGRAR
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Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB
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SheetMusicPlus
Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068893 Composed by Lars Ek. Folk,World. Full Performance. Duration 154. Lars Ek Cosmos Music c/o...
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Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068893 Composed by Lars Ek. Folk,World. Full Performance. Duration 154. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1921497. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068893). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
$1.99
FORNUDDSVALSEN
FORNUDDSVALSEN
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Lars Ek
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FORNUDDSVALSEN
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Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB
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SheetMusicPlus
Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068890 Composed by Lars Ek. Folk,World. Full Performance. Duration 259. Lars Ek Cosmos Music c/o...
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Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068890 Composed by Lars Ek. Folk,World. Full Performance. Duration 259. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1921479. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068890). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
$1.99
LOVELY THOUGHTS
LOVELY THOUGHTS
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Lars Ek
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LOVELY THOUGHTS
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Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB
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SheetMusicPlus
Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068892 Composed by Lars Ek. Folk,World. Full Performance. Duration 233. Lars Ek Cosmos Music c/o...
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Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068892 Composed by Lars Ek. Folk,World. Full Performance. Duration 233. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1921495. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068892). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
$1.99
SNÖKÄNGAN
SNÖKÄNGAN
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Lars Ek
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SNÖKÄNGAN
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Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB
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SheetMusicPlus
Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068889 Composed by Lars Ek. Folk,World. Full Performance. Duration 206. Lars Ek Cosmos Music c/o...
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Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068889 Composed by Lars Ek. Folk,World. Full Performance. Duration 206. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1921477. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068889). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.
$1.99
The Brass Player: Fantasy on Ich bin ein Musikant
The Brass Player: Fantasy on Ich bin ein Musikant
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Brass Quintet: 2 trumpets, horn, trombone, tuba
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INTERMEDIATE
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F
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The Brass Player: Fantasy on I
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Sweetwater Brass Press
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1303802 Composed by F. Leslie Smith. 21st Century,Chamber,Children,Historic...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1303802 Composed by F. Leslie Smith. 21st Century,Chamber,Children,Historic,Multicultural,World. 77 pages. Sweetwater Brass Press #893335. Published by Sweetwater Brass Press (A0.1303802).     A song learned in primary school years and years ago had words something along the lines of the following:         Oh! I’m a young musician,         From distant lands I come.         Singing and playing,         Ever I’m straying.    Also known as “I Am a Fine Musician,†“I Am a Gay Musician†and perhaps other titles, that song is still around and has evolved into many different versions. The original was probably a German folk song from the early 1800s. As published in an 1889 collection of children’s songs, it bears the title, “Ich bin ein Musikant.â€Â That translates as “I am a musician.â€Â In the lyrics the musician claims to be “from Schwabenland†(Swabia) and to play geige (violin: “Dide schum schum schumâ€), flöte (flute: “Päde wäpp päpp päppâ€) and basse (bass: “Dide schum schum schump, päde wäpp päpp päpp). Later versions list the instruments played by the musician as bassoon, bells, clarinet, drum, guitar, piano, piccolo, triangle, trombone, trumpet, tuba, tympani, viola and just about every instrument and noisemaker you can think of.     Anyway, that’s the tune on which “The Brass Player†was built. But here, the musician is concerned only with brass. Which brass? Well, possibly trumpet. Or maybe horn in F. Or trombone. Or tuba. Or perhaps all four; certainly, all are featured in this piece.    “The Brass Player†comprises four sections. The first is in the key of C major and is played at a moderate 2/4 tempo. After a brief Trumpet/Tuba ostinato, Trombone introduces the main theme. Other instruments join in and play around with a variation or two.     The second section is a sweet, nostalgic rendition in 4/4 carried mainly by Horn in F, with help from Trumpets and Trombone.     In section three, the mood changes radically. Time signature goes to 3/4; tempo speeds up to vivace and the key changes to B Minor. All five instruments participate, and some odd things take place rhythmically at I through K (measures 200 through 262), but Tuba seems to carry the melody most of the time.    Section four, in G Major, clips along at a fast 4/4 time. It returns to the main theme and (as in “Ich bin ein Musikant†and its multitudinous derivations) presents in call-and-response form. The first few measures are straight, but discord quickly creeps in. The melody begins to include smears, flutter tonguing and off-beat rhythmic figures. There is even a brief section in G Minor. Gradually, order and theme are restored and the piece ends in a glorious, upbeat statement.    This piece, completed in 2023, consists of 398 measures, a little over nine minutes in length. There are four changes of key and four changes of time signature. Trumpet 1’s highest note is A above its staff; Trombone’s is F above the staff. Trumpet 2 has a few G-below-its-staff notes.    The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge. He would like to receive your suggestions, comments, corrections and criticisms. Contact him at lessmith61@bellsouth.net. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.
$6.99
Humored
Humored
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Piano solo
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INTERMEDIATE
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Michael Bufalini
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Humored
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Michael Bufalini
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.996160 Composed by Michael Bufalini. Concert,Contemporary. Score. 3 pages. Michael Bufalini #4824145. Pub...
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Piano Solo - Level 3 - Digital Download SKU: A0.996160 Composed by Michael Bufalini. Concert,Contemporary. Score. 3 pages. Michael Bufalini #4824145. Published by Michael Bufalini (A0.996160). Is there something humorous about this piece? If there is please let me know. Anyway, it's a rather solemn piece of work that was made for intermediates to get. .
$4.50
Oh Shenandoah
Oh Shenandoah
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Easy Piano
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BEGINNER
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Traditional Folk
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Brian Streckfus
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Oh Shenandoah
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Brian Streckfus
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SheetMusicPlus
C Instrument - Level 1 - Digital Download SKU: A0.1194379 By Traditional Folk. By Traditional Folk Anon. Arranged by Brian Streckfus. Folk,Instructional,...
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C Instrument - Level 1 - Digital Download SKU: A0.1194379 By Traditional Folk. By Traditional Folk Anon. Arranged by Brian Streckfus. Folk,Instructional,Singer/Songwriter,Standards. Lead Sheet / Fake Book. 2 pages. Brian Streckfus #793751. Published by Brian Streckfus (A0.1194379). Pages: 2Key: G Major1. Guitar Tab added with rhythms2. Guitar  Chord diagrams added. 3. Chord nomenclature added. 4. Chords re-harmonized to be idiomatic for guitar, more unique, take part writing into consideration. 5. Left hand guitar fingerings added. 6. Letter names added to note heads.7. Blues grace note added in measure 17. This measure is a good example of how to squeeze in a quick blues note.I like these versions because you can choose between playing the main melody, playing the chords, or trying both simultaneously. If you can eventually playing both simultanously, it can quickly become sophisticated sounding!This version is also nice in that if you strum the more detail-oriented guitar chords, you end up usually playing the melody anyways, which makes this more ideal for strumming with a pick and for practicing vocals.Tips:1. The F# diminshed chord in measure 18 was originally a D7 chord. This seems like a good substitute to make because they contain roughly the same notes but the diminished chord is more original sounding and has better part writing. There is something about D7 chord that I am always swapping out of them when the melody is low. Same concept for the D/F# chord in measure 11. Instead of a famous D chord, the D/F# accents the main melody better, and is more unique sounding.2. It's easy to make mistakes with ties, especially because they also look like slurs. Ties add the to rhythm values together and you don't play the second note, so I normally cross them out with a pencil as they are really only showing sustain.
$2.99
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That's Something Anyway
