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And We Were Lovers
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Vous avez sélectionné:
And We Were Lovers
Partitions à imprimer
17 partitions trouvées
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1
And We Were Lovers
And We Were Lovers
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Piano, Voix et Guitare
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Film/TV
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Andy Williams
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And We Were Lovers
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Hal Leonard - Digital
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SheetMusicPlus
Interactive Download SKU: HX.410592 By Andy Williams. This edition: Interactive Download. Film/TV. Piano/Vocal/Guitar. 3 pages. Published by Hal Leonard ...
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Interactive Download SKU: HX.410592 By Andy Williams. This edition: Interactive Download. Film/TV. Piano/Vocal/Guitar. 3 pages. Published by Hal Leonard - Digital (HX.410592).
$4.99 ≈
4.49€
If We Were Lovers
If We Were Lovers
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Piano seul
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INTERMÉDIAIRE
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Daryl Burgess and Joanna Cotte
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Juan Carlos Rodriguez Cerdan
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If We Were Lovers
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Juan Carlos Rodriguez Cerdan
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.846689 Composed by Daryl Burgess and Joanna Cotten. Arranged by Juan Carlos Rodriguez Cerdan. Contemporary. Score. 5 page...
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Piano Solo - Level 3 - SKU: A0.846689 Composed by Daryl Burgess and Joanna Cotten. Arranged by Juan Carlos Rodriguez Cerdan. Contemporary. Score. 5 pages. Juan Carlos Rodriguez Cerdan #5868717. Published by Juan Carlos Rodriguez Cerdan (A0.846689). Arrangement made for play this beautiful bolero at piano.My Social Media:Youtube:â–º http://www.youtube.com/c/juancarlosrodriguezcerdanSpotify:â–º https://open.spotify.com/artist/1LzpBm2p8MGgEUrsY2UuRCFacebook:â–º https://web.facebook.com/juan.c.rodriguez.77736Instagram: â–º https://www.instagram.com/juancarlosrodriguezcerdan/
$9.99 ≈
8.98€
If We Were Lovers
If We Were Lovers
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Piano Facile
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Emilio Estefan Jr
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If We Were Lovers
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Easy Piano - SKU: AX.00-PS-0007461 Composed by Emilio Estefan Jr. and Gloria Estefan. Pop/Rock. 5 pages. Alfred Music - Digital Sheet Music #00-PS-00074...
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Easy Piano - SKU: AX.00-PS-0007461 Composed by Emilio Estefan Jr. and Gloria Estefan. Pop/Rock. 5 pages. Alfred Music - Digital Sheet Music #00-PS-0007461. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0007461).
$3.99 ≈
3.59€
If We Were Lovers
If We Were Lovers
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Piano Facile
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Gloria Estefan
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If We Were Lovers
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Alfred Music - Digital Sheet Music
#
SheetMusicPlus
Easy Piano - SKU: AX.00-PS-0007460 By Gloria Estefan. By Emilio Estefan Jr., Gloria Estefan, and Jr. Pop/Rock. 2 pages. Alfred Music - Digital Sheet Mus...
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Easy Piano - SKU: AX.00-PS-0007460 By Gloria Estefan. By Emilio Estefan Jr., Gloria Estefan, and Jr. Pop/Rock. 2 pages. Alfred Music - Digital Sheet Music #00-PS-0007460. Published by Alfred Music - Digital Sheet Music (AX.00-PS-0007460).
$3.99 ≈
3.59€
And We Were Lovers by Jerry Goldsmith - Piano/Vocal/Guitar
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Piano, Voix et Guitare
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Jerry Goldsmith
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And We Were Lovers
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Musicnotes
Jerry Goldsmith - And We Were Lovers Digital Sheetmusic plus an interactive, downloadable digital sheet music file, scoring: Piano/Vocal/Guitar, instruments: Vo...
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Jerry Goldsmith - And We Were Lovers Digital Sheetmusic plus an interactive, downloadable digital sheet music file, scoring: Piano/Vocal/Guitar, instruments: Voice;Piano;Guitar; 3 pages -- Standards~~Movie/TV~~Soundtrack
$5.50 ≈
4.95€
Polka from "The Bartered Bride" (Smetana) - Brass Band
Polka from "The Bartered Bride" (Smetana) - Brass Band
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Classique
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Bedrich Smetana
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Rob Bushnell
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Polka from "The Bartered
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RBMusic
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SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - SKU: A0.1372035 Composed by Bedrich Smetana. Arranged by Rob Bushnell. 19th Century,Classical,Folk,Opera,Traditional. Brass Band. 121 pages. RBMusic #956255. Published by RBMusic (A0.1372035). Considered a major contribution to the develop of Czech music, The Bartered Bride by BedÅ™ich Smetana is a comic opera in three acts that premiered, in its final version, in 1870; having not been a great success when the original two-act version premiered at the Provisional Theatre, Prague on 30 May 1866. The opera was part of Smetana’s aim to create a native Czech music after the conductor Johann von Herbeck commented that Czechs were incapable of making music of their own. Whilst he avoided the direct use of folksongs, Smetana did use numerous traditional Bohemian dance forms, such as the furiant and the polka, leading to music that was Czech in spirit.“Sold Brideâ€, a more accurate translation of the original Czech title (Prodaná nevÄ›sta), tells the story of two lovers (MaÅ™enka and Jenik) who want to marry despite MaÅ™enka’s father’s obligations for his daughter to marry the son of a wealthy landowner, Micha. Scheming, condition proposals and secret identities leads to a happy ending.The polka was not in the original 1866 version. A revision in October 1866 saw the addition of a gypsy dance near the start of act 2. But by the next performance in January 1869, this had been replaced by a polka. In June 1869, a new polka replaced the January version’s (as well as being moved to the end of act 1) and this is the one that we know and love today.This arrangement is for the UK-style brass band, with alternative parts for horns in F and bass-clef lower brass. A recording of the original composition can be found here on YouTube: https://www.youtube.com/watch?v=UE8B93XD8NM.
$44.99 ≈
40.46€
Leslie Bricusse: And We Were Lovers - voice, piano or guitar
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Piano, Voix et Guitare
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INTERMÉDIAIRE
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Film/TV
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Leslie Bricusse
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Virtualsheetmusic
Instantly printable sheet music by Leslie Bricusse for voice, piano or guitar of MEDIUM skill level. / film/tv,movies
Instantly printable sheet music by Leslie Bricusse for voice, piano or guitar of MEDIUM skill level. / film/tv,movies
$5.97 ≈
5.37€
Con Los Anos Que Me Quedan
Con Los Anos Que Me Quedan
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Piano seul
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FACILE
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Gloria Estefan
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Con Los Anos Que Me Quedan
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Unimusic Academy
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SheetMusicPlus
Piano - Level 2 - SKU: A0.1134938 By Gloria Estefan. By Emilio Estefan Jr. and Gloria Estefan. Arranged by Unimusic Academy (Academia Unimusica). Latin,...
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Piano - Level 2 - SKU: A0.1134938 By Gloria Estefan. By Emilio Estefan Jr. and Gloria Estefan. Arranged by Unimusic Academy (Academia Unimusica). Latin,Pop. Score (Chords/Lyrics). 4 pages. Unimusic Academy (Academia Unimusica) #734968. Published by Unimusic Academy (Academia Unimusica) (A0.1134938). Con los años que me quedan (With the Years I Have Left) is a 1993 song by American singer and songwriter Gloria Estefan, composed by Emilio Estefan Jr. and released as her second single from her first Spanish album, Mi Tierra. The song is inspired by the relationship between Estefan and Emilio Estefan Jr., and became her second consecutive number 1 single in the Billboard Hot Latin Tracks chart. The track debuted at number 28 on September 28, 1993, and peaked at number 1 on November 13, 1993[1] spending 4 weeks in pole position. An English version was also recorded entitled If We Were Lovers and is included on the international pressing of the maxi-single.
$8.00 ≈
7.19€
Tristan und Isolde
Tristan und Isolde
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Classique
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Richard Wagner
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Tristan und Isolde
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Schott Music - Digital
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SheetMusicPlus
3 (3. auch Picc.) · 2 · Engl. Hr. · 2 · Bassklar. · 3 - 4 · 3 · 3 · 1 - P. S. (Trgl. · Bck.) - Hfe. - Str. Auf der Bühne: Engl...
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3 (3. auch Picc.) · 2 · Engl. Hr. · 2 · Bassklar. · 3 - 4 · 3 · 3 · 1 - P. S. (Trgl. · Bck.) - Hfe. - Str. Auf der Bühne: Engl. Hr. · 6 Hr. · 3 Trp. · 3 Pos. - SKU: S9.Q17773 Handlung in drei Aufzügen. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - Opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 270' 0. Schott Music - Digital #Q17773. Published by Schott Music - Digital (S9.Q17773). German.An important addition to the newly produced orchestral materials by Schott Music is the fi rst publication of vocal scores of Richard Wagner’s ten great operas in every important version. For the first time, we are able to offer theatres and interested opera-lovers vocal scores as urtext editions conceived following uniform editorial criteria: * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. * The publisher has secured the services of renowned musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages (German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. TRISTAN UND ISOLDE Performance directions by the singer Ludwig Schnorr von Carolsfeld are incorporated in the vocal score from the Complete Edition’s Tristan und Isolde volume. He entered these directions into his own copy of the Tristan part which he used at the 1865 Munich premiere. Richard Wagner was deeply impressed by his interpretation of the title role. For the first time in a vocal score of Tristan und Isolde all cuts are incorporated—with the corresponding transitional bars—which Wagner himself made, and approved, in two cases, were actually declared by him to be final. These cuts strikingly document Wagner’s struggle with the final form of the work. For the first time in a single edition all of Wagner’s own suggestions for ossias are found; ossias which evolved from performances under his own direction. Egon Voss writes about this in his foreword to the vocal score: “Such ‘pointers’, as you might say, were current practice in the 19th century which Wagner, as the example shows, did not evade. He was enough of a practical man of the theatre to know that a badly sung top note is worse than doing without it. Wagner even tolerated the transposition of lengthier passages because he was less concerned with the letter of the score than with theatrical effectiveness. [...] The present vocal score goes beyond the Complete Edition [...] in that the ossias mentioned above are indicated in the vocal part itself, in small notes. They concern principally the role of Tristan, but also those of Isolde, Brangäne and Kurwenal. They rest in part on the Tristan edition within the Complete Edition but for the greater part go back to a source which could not be consulted for the Complete Edition because it was not yet accessible. This relates to a vocal score from the estate of the composer Peter Cornelius who was engaged by Wagner as repetiteur at the Vienna rehearsals in 1861-63. That the ossia bars go back to Wagner can be taken as certain, since in some places they are notated in his own hand.†(Egon Voss, quoted from the foreword to the vocal score) The transpositions mentioned by Egon Voss—two by Hans von Bülow for the revival of the work which he conducted in Munich in 1869 and the third suggested by Wagner himself in 1861—are printed in the appendix to the vocal score. The ossias, transpositions, and cuts are available for practical use in the theatre and in rehearsal. The cuts are also incorporated into the orchestral materials for Tristan und Isolde. This is also the case with ossias which affect the orchestral parts.2013 marks Wagner’s bicentenary, making the year largely focused on his music, particularly the dramatic works. An important addition to the newly produced orchestral materials by Schott Music. The score corresponds to the performance materials from the Complete Edition. Schott Music have secured the services of renowned musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. For the first time, this work is available to theatres and interested opera-lovers as urtext editions. For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. The forewords are given in three languages (German, English, and French). Other vocal scores available: Der fliegende Holländer (1841) Der fliegende Holländer (1842-80) Tannhäuser Lohengrin Das Rheingold Die Walküre Siegfried Götterdämmerung Die Meistersinger von Nürnberg Parsifal.
$47.99 ≈
43.16€
Strangers In The Night
Strangers In The Night
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Piano seul
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AVANCÉ
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Frank Sinatra
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Timothy Stapay/Liberace
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Strangers In The Night
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Timothy Stapay
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1342176 By Frank Sinatra. By Bert Kaempfert, Charles Singleton, and Eddie Snyder. Arranged by Timothy Stapay/Liberace. Br...
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Piano Solo - Level 5 - SKU: A0.1342176 By Frank Sinatra. By Bert Kaempfert, Charles Singleton, and Eddie Snyder. Arranged by Timothy Stapay/Liberace. Broadway,Film/TV,Musical/Show,Pop,Singer/Songwriter,Standards. Score. 10 pages. Timothy Stapay #927698. Published by Timothy Stapay (A0.1342176). Strangers In The Night is here arranged as performed by famous piano artist, Liberace. He played this in concerts around the world and on his piano albums. This piano solo arrangement has all of the sparkle and fiery improvisations that made Liberace famous. Now for the first time, here is the sheet music as played by Liberace.On a personal note: I saw Liberace perform this live at a concert in Chicago, when I was a very, very young piano student. My parents were both Liberace fans and took me to one of his concerts. The memory stayed with me for a lifetime!Lyrics:[Verse 1]Strangers in the night exchanging glancesWondering in the night, what were the chances?We'd be sharing love before the night was through[Verse 2]Something in your eyes was so invitingSomething in your smile was so excitingSomething in my heart told me I must have you[Chorus]Strangers in the nightTwo lonely people, we were strangers in the nightUp to the moment when we said our first hello, little did we knowLove was just a glance away, a warm embracing dance away and[Verse 3]Ever since that night we've been togetherLovers at first sight, in love foreverIt turned out so right for strangers in the night[Bridge]Love was just a glance away, a warm embracing dance away[Verse 3]Ever since that night we've been togetherLovers at first sight, in love foreverIt turned out so right for strangers in the night [Outro]Dooby-doooby-dooDoob-dooob-doob-dee-daaDaaa-daaa-daaa-daaa-daaa.
$8.99 ≈
8.09€
The Messiah, HWV 56
The Messiah, HWV 56
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2 Flûte à bec (duo)
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INTERMÉDIAIRE/AVANCÉ
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George Frideric Handel
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Jens Lohmann
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The Messiah, HWV 56
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Jens Lohmann
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SheetMusicPlus
Recorder Duet Alto Recorder - Level 4 - SKU: A0.1499579 Composed by George Frideric Handel. Arranged by Jens Lohmann. Baroque,Chamber,Christmas,Early Mu...
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Recorder Duet Alto Recorder - Level 4 - SKU: A0.1499579 Composed by George Frideric Handel. Arranged by Jens Lohmann. Baroque,Chamber,Christmas,Early Music,Sacred. Score. 18 pages. Jens Lohmann #1075642. Published by Jens Lohmann (A0.1499579). Arrangements were common practice in the Baroque period, as they were intended to express the appreciation of a particular composition. On the other hand, works were transcribed into duet form, for example, in order to be able to offer popular compositions to a wide circle of music lovers for playing music at home.The London publisher John Walsh (1665 - 1736) was particularly active in this field and we have him to thank for many chamber music editions.Following this tradition, I have made a selection of pieces from George Frideric Handel's ‘ The Messiah’ for two treble recorders in the present edition.
$5.99 ≈
5.39€
Strangers In The Night
Strangers In The Night
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Frank Sinatra
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Timothy Stapay
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Strangers In The Night
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Timothy Stapay
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1307701 By Frank Sinatra. By Bert Kaempfert, Charles Singleton, and Eddie Snyder. Arranged by Timothy Stapay. Film/TV,Jaz...
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Piano Solo - Level 4 - SKU: A0.1307701 By Frank Sinatra. By Bert Kaempfert, Charles Singleton, and Eddie Snyder. Arranged by Timothy Stapay. Film/TV,Jazz,Pop,Singer/Songwriter,Standards. Score. 3 pages. Timothy Stapay #896964. Published by Timothy Stapay (A0.1307701). Strangers in the Night is a song composed by Bert Kaempfert with English lyrics by Charles Singleton and Eddie Snyder.  The song was made famous in 1966 by Frank Sinatra.Reaching #1 on both the Billboard Hot 100 chart and the Easy Listening chart, it was the title song for Sinatra's 1966 album Strangers in the Night, which became his most commercially successful album. The song also reached No. 1 on the UK Singles Chart.Sinatra's recording won him the Grammy Award for Best Male Pop Vocal Performance and the Grammy Award for Record of the Year, as well as a Grammy Award for Best Arrangement Accompanying a Vocalist or Instrumentalist for Ernie Freeman at the Grammy Awards of 1967.Lyrics:[Verse 1]Strangers in the night exchanging glancesWondering in the night, what were the chances?We'd be sharing love before the night was through[Verse 2]Something in your eyes was so invitingSomething in your smile was so excitingSomething in my heart told me I must have you[Chorus]Strangers in the nightTwo lonely people, we were strangers in the nightUp to the moment when we said our first hello, little did we knowLove was just a glance away, a warm embracing dance away and[Verse 3]Ever since that night we've been togetherLovers at first sight, in love foreverIt turned out so right for strangers in the night[Bridge]Love was just a glance away, a warm embracing dance away[Verse 3]Ever since that night we've been togetherLovers at first sight, in love foreverIt turned out so right for strangers in the night [Outro]Dooby-doooby-dooDoob-dooob-doob-dee-daaDaaa-daaa-daaa-daaa-daaa.
$5.99 ≈
5.39€
Tannhäuser und der Sängerkrieg auf Wartburg
Tannhäuser und der Sängerkrieg auf Wartburg
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Classique
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Richard Wagner
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Tannhäuser und der Sä
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Schott Music - Digital
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SheetMusicPlus
SKU: S9.Q25917 Vocal Score based on the Richard Wagner Complete Edition edited by Wolfgang M. Wagner. Composed by Richard Wagner. This edition: v...
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SKU: S9.Q25917 Vocal Score based on the Richard Wagner Complete Edition edited by Wolfgang M. Wagner. Composed by Richard Wagner. This edition: vocal/piano score. Erstveröffentlichung - Oper - Theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Schott Music - Digital #Q25917. Published by Schott Music - Digital (S9.Q25917). German • French.An important addition to Schott's newly published orchestral material is the first publication of piano scores for the ten major operas by Richard Wagner in all major versions. For the first time, we offer the stages and interested opera lovers piano scores as urtext editions that were designed according to uniform editorial criteria.•The score is aligned with the performance material of the Complete Edition. •All piano scores have study numbers and continuous measure numbers for rehearsal and study practice. •The editors are renowned musicologists from the circles of those working on the Richard Wagner Complete Edition who contribute detailed information on the respective editions to the critical prefaces.•The prefaces are printed in three languages (German, English, French). •The uniform appealing cover design with reproductions of paintings from the Wagner era emphasizes the serial character of the edition.TANNHÄUSERFor the Richard Wagner Complete Edition, the editors Egon Voss, Peter Jost and Reinhard Strohm as well as Cristina UrchueguÃa have researched and presented Tannhäuser's genesis and history of more than thirty years, which also took about thirty years of scientific work, on 2,959 pages in eight volumes. With the present piano score, the findings gathered therein shall now also to be made accessible for the musical practice. (Wolfgang M. Wagner, quoted from the foreword to the new Tannhäuser piano score)The piano score unites for the first time all four stages of the work (the score as of 1845, the score as of 1860, the Paris version as of 1861/62 with the complete French text of this version, and the Vienna version as of 1875) in a single excerpt for rehearsal and study practice, thus allowing the comparison of the versions, without sacrificing practicability.All variants are printed one after the other in the chronological sequence of the action on the stage, so that each of them can be explored in their context of action by simply turning over the pages. Only two variants rejected before the Paris premiere were printed separately in the appendix. A fascinating insight into Richard Wagner's thinking in terms of stage practice and into his very precise ideas of tonal balance, scenic details and role-conception are made possible by the quotations printed in key passages from his work On the Performance of Tannhäuser, published in 1852.For example, soon after the world premiere, Wagner suggested the deletion of bars in the orchestral part in the 4th scene of Act I, reasoning that […] due to the tremendous woodenness and self-consciousness of our usual supernumeraries, the impression of overwhelming liveliness, which was intended by me and which was to imply a heightening of the mood led up to by the liveliest manifestations of life, was not achieved. (piano reduction, p. 221)In the big ensemble scene at the end of Act II, Wagner puts in a comment at a certain passage, referring to the conductor and his great responsibility for tonal balance:The exclamations 'Ach, erbarm' dich mein!' require such a piercing emphasis that he [the performer of Tannhauser] as a mere, well-trained singer is not enough; it is but the highest dramatic art that has to provide him the energy of pain and desperation for an expression that must seem to break forth from the most gruesome depths of an awfully woeful heart, like a cry for salvation. The conductor has to ensure that the implied success is made possible for the principal singer by the most discrete accompaniment of the other singers as well as of the orchestra. (piano reduction, p. 367)3 (3. auch Picc.) · 2 · 2 · Bassklar. [nicht in Pariser F.] · 2 - 2 Ventilhr. · 2 Waldhr. · 3 Ventiltrp. · 3 · 1 [Pariser F.: Ophicléïde] - P. S. (Trgl. · Beck. · Tamb. · gr. Tr. · Tamt. [Pariser F.] · Kast. [Pariser/Wiener F.) (2-3 Spieler) - Str. Auf dem Theater: 2 Picc. [P/W: 1] · 4 Fl. [P/W: 2] · 4 Ob. [P/W: 2] · Engl. Hr. · 6 Klar. [P/W: 3] · 4 Fg. [P: 2, W: 0] - 12 Wald-Hr. · 12 Trp. [P: 9] · 4 Pos. [P/W: 4 Hr.] - Trgl. · Beck. · Tamb. · Kast. [nur in P] - Hfe. [in P/W].
$53.99 ≈
48.56€
Stranger In Paradise
Stranger In Paradise
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Piano, Voix
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INTERMÉDIAIRE
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George Forrest and Robert Wrig
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Dave Gingras and John E
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Stranger In Paradise
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DAVID LEE GINGRAS
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1494506 Composed by George Forrest and Robert Wright. Arranged by Dave Gingras and John E. Dosher. Broadway,Film/T...
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Piano,Vocal,Voice - Level 3 - SKU: A0.1494506 Composed by George Forrest and Robert Wright. Arranged by Dave Gingras and John E. Dosher. Broadway,Film/TV,Jazz,Musical/Show. Score. 2 pages. DAVID LEE GINGRAS #1071092. Published by DAVID LEE GINGRAS (A0.1494506). Stranger in Paradise is a popular song from the musical Kismet (1953), credited to Robert Wright and George Forrest. The song in the musical is a lovers' duet and describes the transcendent feelings that love brings to their surroundings. Later versions were mostly edited to be sung by male solo artists. This version was developed from a lead sheet and was created so that someone with average ability can play it and sound good doing so. We added root-based chord blocking and a few left-hand fills for rhythm - we hope you like what we've done with this grand show tune!
$5.99 ≈
5.39€
Covid Suite - for Five Wind Instruments
Covid Suite - for Five Wind Instruments
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Contemporain
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Daniel Gowans
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Covid Suite - for Five Wind In
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Daniel Gowans
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SheetMusicPlus
Small Ensemble - Level 4 - SKU: A0.518623 Composed by Daniel Gowans (BMI). 20th Century,Classical,Contemporary. Score and parts. 26 pages. Daniel Gowans...
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Small Ensemble - Level 4 - SKU: A0.518623 Composed by Daniel Gowans (BMI). 20th Century,Classical,Contemporary. Score and parts. 26 pages. Daniel Gowans #129332. Published by Daniel Gowans (A0.518623). In 2020, musicians and music lovers around the world were discouraged by the presence of Covid-19 and how it so quickly removed the opportunities for all to enjoy live music as had been previously enjoyed. This suite was written to reflect on a few elements of this pandemic, and to hope for the future as we anticipate the end of life as we know it today, and look forward to life as we may remember it. Mvt 1: A reflection on the perpetual motion of life, and how little time was spent focusing on what matters. Mvt 2: An immediate halt, requiring people to slow down and appreciate what they have. Mvt. 3: A small sketch describing the 6 feet of separation from one another. Mvt. 4: The potential for returning to the busy, perpetual life as the world once knew, but with a change.
$28.50 ≈
25.63€
Beyond the Rainbow Bridge - backing track
Beyond the Rainbow Bridge - backing track
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David Kai
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David Kai
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Beyond the Rainbow Bridge - ba
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David Kai
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SheetMusicPlus
String Ensemble Drum Set,Electric Bass Guitar,Piano Accompaniment - Level 3 - SKU: A0.1105087 By David Kai. By David Kai. Arranged by David Kai. Christi...
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String Ensemble Drum Set,Electric Bass Guitar,Piano Accompaniment - Level 3 - SKU: A0.1105087 By David Kai. By David Kai. Arranged by David Kai. Christian,Contemporary,Country,Rock. Accompaniment. Duration 221. David Kai #708333. Published by David Kai (A0.1105087). A song for those grieving the loss of a pet, especially those whose pets support them through issues such as PTSD and depression. The death of a pet is certainly one the most difficult things that pet lovers experience. Pets offer us companionship, affection and healing, but their relatively short lifespan means that we will experience this loss many times in our lives. Many of us take comfort in the idea of a rainbow bridge that our pets cross when they die, and that we too will cross to be united with our pets. This song expresses the grief that we experience with the death of a pet, but also the hope that we will be reunited with them one day. This version of the song is a backing track for a soloist. BEYOND THE RAINBOW BRIDGE by David Kai ©2019 The day that I first met you, I held you in the palm of my hand And from that moment onward I knew that we would be the best of friends And though you started as a Christmas gift to set beneath the tree You know you really were a gift from God to me. We walked through fields and forests, we’d hit the trail in sun and wind and rain When I was at my lowest, you licked my hand and raised me up again But time passed much too quickly, and you know just what you did You took a piece of my broken heart beyond the rainbow bridge. I’m not sure what heaven’s like , I’m not sure how things will be But if we won’t be together, it won’t feel like heaven to me But if the Lord be willing, I’ll hear your welcome bark again, And see you running to me, through the golden fields of grain Most faithful of companions, you’d been with me in sickness and in health You always loved to see me, even when I couldn’t really love myself And when you licked my hand that one last time, then you know just what you did You took a piece of my broken heart beyond the rainbow bridge. You took a piece of my broken heart beyond the rainbow bridge.
$1.99 ≈
1.79€
Three Laments of Heloise for Chamber Orchestra
Three Laments of Heloise for Chamber Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Dosia McKay
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Three Laments of Heloise for C
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Gavia Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #572...
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Chamber Orchestra - Level 4 - SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #57229. Published by Gavia Music (A0.876665). Three Laments of Heloise were inspired by the Letters of Abelard and Heloise, especially the character of Heloise, her crushing loss, self-denial, sacrifice, and forced conformity to the standards of medieval society. The first movement entitled Queens Envied Me My Joys is Heloise’s recollection of early days with Abelard. Every wife, every young girl desired you in absence and was on fire in your presence, writes Heloise. The pleasures of lovers which we shared have been too sweet… They are always there before my eyes, bringing with them awakened longings… The second movement If Not With You, My Heart Is Nowhere, expresses Heloise’s sense of abandonment by her lover. She writes to him: My heart was not in me but with you, and now, even more, if it is not with you it is nowhere; truly, without you I cannot exist. The third movement, My Most Wretched Soul, gives voice to Heloise’s continued struggle with her loss and the reality of the convent life. She does not see herself as a servant of God, but rather a hypocrite who remains pious on the outside and rages inwardly. Of all wretched women I am the most wretched, and amongst the unhappy I am unhappiest. How can it be called repentance for sins, however great the mortification of the flesh, if the mind still retains the will to sin and is on fire with its old desires? Modal scales and dance sequences give the Laments a Renaissance feel. Music theory students might appreciate the fact that the unifying element of the three movements is the interval of the 7th which appears very frequently in melodic and harmonic gestures and creates a feeling of ambiguity and of a lack of resolution. For chamber orchestra: Flute (or Piccolo), Oboe, Clarinet, Bassoon, Strings (Quintet, or 4,4,3,2,1, or larger), 2 Percussion: Frame Drum, Tambourine. Total duration 8:00. Possible transcriptions for period Renaissance instruments - please contact the composer. Composed in 2009. Copyright 2009 Dosia McKay / Gavia Music (ASCAP).
$100.00 ≈
89.94€
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And We Were Lovers
