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Be Thou My Vision for solo harp
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You've selected:
Be Thou My Vision for solo harp
Sheetmusic to print
21 sheet music found
<
1
Be Thou My Vision - solo harp
Be Thou My Vision - solo harp
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Harp
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Rebekah Lanier
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Be Thou My Vision - solo harp
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Muletown Music
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SheetMusicPlus
Harp - SKU: A0.1071507 Arranged by Rebekah Lanier. Christian,Contemporary,Sacred,Spiritual,Wedding. Full Performance. Duration 157. Muletown Music #3036...
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Harp - SKU: A0.1071507 Arranged by Rebekah Lanier. Christian,Contemporary,Sacred,Spiritual,Wedding. Full Performance. Duration 157. Muletown Music #3036679. Published by Muletown Music (A0.1071507). A beautiful, reflective rendition of Be Thou My Vision for solo harp that is suitable for church services, weddings, and more.The harpist, Rebekah Lanier, is the performer heard on this track. This recording is taken from the album Songs in the Night, available on iTunes and Amazon music.To view a complete list of arrangements and original compositions by Rebekah Lanier, visit http://bit.ly/Catalog-RebekahLanier-SheetMusicFor information about online harp or piano lessons with Rebekah, visit www.willowcreekmusic.com/music-lessons.html
$1.99 ≈
1.86€
Be Thou My Vision - lever harp solo
Be Thou My Vision - lever harp solo
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Harp
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INTERMEDIATE/ADVANCED
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Regina Ederveen
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Be Thou My Vision - lever harp
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R. Ederveen
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SheetMusicPlus
Harp - Level 4 - SKU: A0.859412 Composed by Regina Ederveen. Celtic,Christian,Folk,Sacred,World. Score. 7 pages. R. Ederveen #5207459. Published by R. E...
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Harp - Level 4 - SKU: A0.859412 Composed by Regina Ederveen. Celtic,Christian,Folk,Sacred,World. Score. 7 pages. R. Ederveen #5207459. Published by R. Ederveen (A0.859412). Be Thou My Vision - lever harp soloA wonderful arrangement, for lever harp or pedal harp, by Regina EderveenLength 4'23''.For information contact via www.reginaederveen.nl
$4.99 ≈
4.66€
Be Thou My Vision - pedal harp solo
Be Thou My Vision - pedal harp solo
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Harp
#
INTERMEDIATE/ADVANCED
#
Regina Ederveen
#
Be Thou My Vision - pedal harp
#
R. Ederveen
#
SheetMusicPlus
Harp - Level 4 - SKU: A0.859413 Composed by Regina Ederveen. Celtic,Christian,Folk,Sacred,World. Score. 7 pages. R. Ederveen #5214999. Published by R. E...
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Harp - Level 4 - SKU: A0.859413 Composed by Regina Ederveen. Celtic,Christian,Folk,Sacred,World. Score. 7 pages. R. Ederveen #5214999. Published by R. Ederveen (A0.859413). Be Thou My Vision - pedal harp soloThere's also my version for lever harp on this website!Length: 4'13''Enjoy! Regina Ederveen www.reginaederveen.nl
$4.99 ≈
4.66€
Be Thou My Vision
Be Thou My Vision
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Harp
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INTERMEDIATE
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Old Irish Melody
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Beka Wilson
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Be Thou My Vision
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Beka Wilson
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SheetMusicPlus
Harp - Level 3 - SKU: A0.786412 Composed by Old Irish Melody. Arranged by Beka Wilson. Celtic,Christian,Sacred. Score. 1 pages. Beka Wilson #5330649. Pu...
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Harp - Level 3 - SKU: A0.786412 Composed by Old Irish Melody. Arranged by Beka Wilson. Celtic,Christian,Sacred. Score. 1 pages. Beka Wilson #5330649. Published by Beka Wilson (A0.786412). A calming, simple arrangement of this beloved hymn for solo harp. No lever changes, chords provided for those who like to improvise.Length: approximately 1.5 minutes.
$4.99 ≈
4.66€
Be Thou My Vision (For Fingerstyle Guitar Tuned CGDGAD)
Be Thou My Vision (For Fingerstyle Guitar Tuned CGDGAD)
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Public Domain
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Ellsworth McMeen
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Be Thou My Vision
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Ellsworth McMeen
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SheetMusicPlus
Solo Guitar - SKU: A0.806132 Composed by Public Domain. Arranged by Ellsworth McMeen. Christian,Folk. Individual part. 5 pages. Ellsworth McMeen #434877...
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Solo Guitar - SKU: A0.806132 Composed by Public Domain. Arranged by Ellsworth McMeen. Christian,Folk. Individual part. 5 pages. Ellsworth McMeen #4348771. Published by Ellsworth McMeen (A0.806132). Evocative, harplike arrangement of a classic Christian song for solo fingerstyle guitar in an alternative tuning (CGDGAD). El McMeen is included in the Digitaldreamdoor listing of the 100 Greatest Acoustic Guitarists. https://tinyurl.com/GreatestGuitarists
$3.99 ≈
3.72€
Remembrance for lever or pedal harp
Remembrance for lever or pedal harp
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Harp
#
EASY
#
and By, Ave Maria
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Julietta Anne Rabens
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Remembrance for lever or pedal
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Juliettamusic
#
SheetMusicPlus
Harp - Level 2 - SKU: A0.867164 Arranged by Julietta Anne Rabens. Christian,Contemporary,Sacred,Spiritual,Wedding. Score. 27 pages. Juliettamusic #17502...
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Harp - Level 2 - SKU: A0.867164 Arranged by Julietta Anne Rabens. Christian,Contemporary,Sacred,Spiritual,Wedding. Score. 27 pages. Juliettamusic #1750203. Published by Juliettamusic (A0.867164). Remembrance for solo lever or pedal harp is a collection of hymns chosen specifically to instill a sense of peace. These selections are appropriate for memorial services, and any service where instilling peace and hope are the goal. Hymns included are: Be Thou My Vision, I Saw One Weary, Balm in Gilead, It Is Well With My Soul, Sweet By and By, Ave Maria. These arrangements are designed for the intermediate level player.
$15.00 ≈
14.00€
A Circle of Harps
A Circle of Harps
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Harp
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INTERMEDIATE
#
Celtic/Irish
#
Nancy Hurrell
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A Circle of Harps
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Afghan Press Music for the Harp
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SheetMusicPlus
Harp - Intermediate - Arranged by Nancy Hurrell. Early Music, Celtic, St. Patrick's Day, Recital. 100 pages. Published by Afghan Press Music for ...
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Harp - Intermediate - Arranged by Nancy Hurrell. Early Music, Celtic, St. Patrick's Day, Recital. 100 pages. Published by Afghan Press Music for the Harp
A collection of gems -- some familiar and some are unusual, all are traditional tunes from Britain. The solos are superb and the ensemble arrangements are awesome. This book can be utilized by players of beginning to intermediate level. Keys of C, G or D.
Solos: Short-Coated Mary, Fear a'Bhata (The Boatman), Loch Earn, The Skylark, The Electric Jig (by Robin Ellis), and Munro's Rant.
Duet: Rosin the Beau (an exquisite arrangement).
Trios: Oran Sniomhaidh (Spinning Song), Braigh Loch Iall (Braes of Locheil), Picking of Sticks/Cuckolds All in a Row, Be Thou My Vision, Dargason, and June Apple.
$20.00 ≈
18.67€
Easy Hymns (Volume 1) - 12 String Lap Harp
Easy Hymns (Volume 1) - 12 String Lap Harp
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Harp
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Classical
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Traditional Songs
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Kitty M
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Easy Hymns
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SheetMusicPlus
Composed by Traditional Songs. Arranged by Kitty M. Y. Leung. Christian, Gospel, Praise & Worship, General Worship, Repertoire. Score, Solo Part. ...
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Composed by Traditional Songs. Arranged by Kitty M. Y. Leung. Christian, Gospel, Praise & Worship, General Worship, Repertoire. Score, Solo Part. 8 pages. Published by Kitty M.Y.Leung
Easy Hymns (Volume 1) - 12 String Lap Harp (also suitable for 15, 18 string lap harp)
https://youtu.be/V_11cyaD8tU
Contents:
1. Amazing Grace
2. Be Thou My Vision
3. Holy, Holy, Holy
4. Jesus Loves Me
5. What A Friend We Have in Jesus
$6.99 ≈
6.52€
Easy Hymns (Volume 1) - 15 String Lap Harp
Easy Hymns (Volume 1) - 15 String Lap Harp
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Harp
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Sacred music
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Kitty M
#
Easy Hymns
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SheetMusicPlus
Arranged by Kitty M. Y. Leung. Christian, Praise & Worship, General Worship, Easter, Thanksgiving. Score, Solo Part. 8 pages. Published by Kitty M...
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Arranged by Kitty M. Y. Leung. Christian, Praise & Worship, General Worship, Easter, Thanksgiving. Score, Solo Part. 8 pages. Published by Kitty M.Y.Leung
5 Hymns arranged for 15 String Harp (range from Middle C) (intermediate version)
1. Amazing Grace
2. Be Thou My Vision
3. Holy, Holy, Holy
4. Jesus Loves Me
5. What A Friend We Have In Jesus.
$6.99 ≈
6.52€
50 Favorite Hymns Piano Accompaniment Tracks
50 Favorite Hymns Piano Accompaniment Tracks
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Piano solo
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Sacred music
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Gospel/Spiritual
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Chris Cooke
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50 Favorite Hymns Piano Accomp
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Chris Cooke
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SheetMusicPlus
Piano - SKU: A0.1071369 Arranged by Chris Cooke. Christian,Gospel,Praise & Worship,Sacred. Accompaniment. Duration 7162. Chris Cooke #3004581. Published...
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Piano - SKU: A0.1071369 Arranged by Chris Cooke. Christian,Gospel,Praise & Worship,Sacred. Accompaniment. Duration 7162. Chris Cooke #3004581. Published by Chris Cooke (A0.1071369). This is a recording of the printed piano accompaniment book. (Other Books also available are for flute, clarinet/trumpet, alto sax, French horn, and trombone.) These recordings may also be used for group singing. There is a short introduction, and enough repeats of the verses in case you would like to play or sing them all! While these recordings contain multiple verses, the print version contains only one verse with no introduction. Many hymns are in their original hymnal keys, but if not, they have been adjusted slightly for a better playing range.This is one large file, containing all 50 accompaniments, plus one bonus recording-a harpsichord version of the first piece. For this reason, the cue point is given which is the time in the recording when each hymn occurs so they can be located more easily within this one-hour and 59-minute MP3. For instance, And Can It Be would be found at the 6-minute and 12-second time point. The full list of hymns, with their concert keys, cue points, and length of introduction, is below:All Things Bright and Beautiful (alternate tune, Monk), C,harpsichord; 4-measure introAll Things Bright and Beautiful, piano, cue point: 0:3:06; 4-measure introAnd Can It Be, F; cue point: 0:06:12; 4-measure introAre You Washed in the Blood, G; cue point: 0:09:33; 4-measure introAt Calvary, C; cue point: 0:11:25; 4-measure introBe Thou My Vision, E-flat; cue point: 0:13:44; 4-measure introBlessed Be the Name, A-flat; cue point: 0:15:29; 4-measure introBreathe on Me, Breath of God, F; cue point: 0:17:47; 4-measure introCome, Christians Join to Sing, E-flat; cue point: 0:19:16; 4-measure introFaith is the Victory, E-flat; cue point: 0:21:02; 4-measure introGlory to His Name, G; cue point: 0:23:21; 4-measure introHe Keeps Me Singing, A-flat; cue point: 0:25:40; 4-measure introHeavenly Sunlight, F; cue point: 0:27:58; 4-measure introI Know Whom I Have Believed, A-flat; cue point: 0:29:39; 4-measure introI Love to Tell The Story, A-flat; cue point: 0:32:06; 4-measure introImortal, Invisible, God Only Wise, A-flat; cue point: 0:34:52; 4-measure introIt Is Mine, B-flat; cue point: 0:36:27; 4-measure introJesus Saves, G; cue point: 0:38:22; 4-measure introJoy Unspeakable and Full of Glory, A-flat; cue point: 0:40:22; 4-measure introJust as I am , E-flat; cue point: 0:42:41; 6-measure introLeaning on the Everlasting Arms, A-flat; cue point: 0:46:36; 4-measure introLike a River Glorious F; cue point: 0:48:23; 4-measure introLove Lifted Me, B-flat; cue point: 0:50:32; 4-measure introMy Faith Looks Up to Thee, D; cue point: 0:53:19; 4-measure introNothing But the Blood, A-flat; cue point: 0:55:32; 4-measure introOh How I Love Jesus, A-flat; cue point: 0:57:51; 4-measure introOn Jordan’s Stormy Banks, E-flat; cue point: 0:59:37; 4-measure introPraise Him! Praise Him! F; cue point: 1:01:56; 4-measure introRedeemed, How I Love to Proclaim It, A-flat; cue point: 1:04:14; 4-measure introRejoice, The Lord Is King! C; cue point: 1:05:49; 4-measure introRevive Us Again, F; cue point: 1:07:52; 4-measure introRock of Ages, B-flat; cue point: 1:09:36; 4-measure introSend the Light, F; cue point: 1:10:54; 4-measure introSince I Have Been Redeemed, F; cue point: 1:13:34; 4-measure introSince Jesus Came Into My Heart, G; cue point: 1:16:02; 4-measure introSoftly and Tenderly, F; cue point: 1:18:30; 4-measure introStand Up, Stand Up for Jesus, G; cue point: 1:22:29; 4-measure introStanding on the Promises, B-flat; cue point: 1:24:48; 4-measure introSunshine in My Soul, F; cue point: 1:27:06; 2-measure introThe Old Rugged Cross, B-flat; cue point: 1:29:21; 4-measure in.
$9.97 ≈
9.31€
Be Thou My Vision - for solo harp
Be Thou My Vision - for solo harp
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Harp
#
Sacred music
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Wedding/Ballad
#
Traditional Irish
#
Rebekah Lanier
#
Be Thou My Vision - for solo h
#
Willow Creek Music
#
SheetMusicPlus
Composed by Traditional Irish. Arranged by Rebekah Lanier. Christian, Spiritual, Sacred, Repertoire, Wedding. Sheet Music Single. 3 pages. Published by Willow C...
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Composed by Traditional Irish. Arranged by Rebekah Lanier. Christian, Spiritual, Sacred, Repertoire, Wedding. Sheet Music Single. 3 pages. Published by Willow Creek Music (S0.205427). - Sheet Music Single - Christian,Spiritual,Sacred,Repertoire,Wedding - Willow Creek Music
$4.90 ≈
4.57€
Fuga a tre (3 part fugue) for keyboard
Fuga a tre (3 part fugue) for keyboard
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Piano solo
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INTERMEDIATE
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Contemporary
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Joseph Dillon Ford
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Fuga a tre
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David Warin Solomons2
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SheetMusicPlus
Instrumental Duet Harpsichord,Instrumental Duet,Piano - Level 3 - SKU: A0.958468 Composed by Joseph Dillon Ford. 20th Century. Score and parts. 3 pages....
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Instrumental Duet Harpsichord,Instrumental Duet,Piano - Level 3 - SKU: A0.958468 Composed by Joseph Dillon Ford. 20th Century. Score and parts. 3 pages. David Warin Solomons2 #3691563. Published by David Warin Solomons2 (A0.958468). The Fuga a tre voci was composed on 28 March 1976 not long before I moved from Miami to Cambridge to begin graduate study in music at Harvard. It remained an imperfect sketch in need of extensive revisions, and languished for a quarter-century in a manila file folder until I rediscovered it late in 2001 and was pleased to find that it was worth the trouble of resurrecting. This was no easy task, as it was my original intention to comply closely with eighteenth-century contrapuntal practices. Although I had written numerous polyphonic pieces in a similar style since 1976, none of these was a fugue. There was also the challenge of reconnecting with musical ideas I had originated at the age of twenty-four at a time in my life when I was rapidly approaching the age of fifty. Still, I persevered in my efforts to revive and improve this early polyphonic essay, and hope the performer and listener will be as pleased with the results as I am. This three-voice fugue can be performed by any instrument or combination of instruments, including the harpsichord.
$7.00 ≈
6.53€
En Face Du Miroir (Facing The Mirror)
En Face Du Miroir (Facing The Mirror)
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Piano solo
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ADVANCED
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Jazz
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Isadar
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En Face Du Miroir
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Mainya Music Publishing
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SheetMusicPlus
Piano Solo - Advanced - Composed by Isadar. Contemporary Classical, Jazz, Recital, Americana, New Age. Sheet Music Single. 11 pages. Published by Ma...
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Piano Solo - Advanced - Composed by Isadar. Contemporary Classical, Jazz, Recital, Americana, New Age. Sheet Music Single. 11 pages. Published by Mainya Music Publishing (BMI)
Contains:
"En Face Du Miroir (Facing The Mirror)"
- taken from the Isadar solo piano complete collection, "Red" (also available on SMP)
Sounds like: Keith Jarrett, Bill Evans, Vince Guaraldi, Liz Story, George Winston, early Windham Hill solo piano artists
Transcribed by: David Shenton ( https://www.shentonmusic.com/ ) verbatim to the sound recording
Album & Songbook Review by: Kathy Parsons
Red is pianist/composer Isadar?s genre-defying tenth solo piano album and seventeenth independent release from the past twenty years. It is also the third installment in a trilogy of solo piano albums released in the past year - Reconstructed, a Will Ackerman-produced anthology of some of Isadar?s best piano pieces; O Christmas, Isadar?s second piano Christmas album; and now Red, a bittersweet love-themed album that took seven years to produce and that consists of the first new original solo piano material Isadar has released in more than ten years.
I have been reviewing and thoroughly enjoying Isadar?s releases since his second piano album, 1999?s Active Imagination, which still stands as one of my favorite recordings. Even though I have been a big fan for many years, I was still blown away by Isadar?s live performance in my house concert series in July 2010. The man has magic fingers and an extraordinary piano touch that are perfectly suited to express his imaginative, distinctive, and emotionally powerful music.
Isadar is also a singer/songwriter and an electronic musician who creates the music videos for much of his music, dramatizing the stories that inspired the songs. I will always be partial to Isadar?s piano albums because his voice and vision are unique, incorporating jazz, new age, pop, and classical stylings into a musical language all his own.
Red opens with ?Broken Valentine,? a free-flowing expression of heartbreak and the broad range of emotions that go with it, alternating between grief and confusion then shifting to perhaps anger and resignation - a great beginning. The title track conveys the freedom of an improvisation while weaving together a variety of upbeat themes. ?The Man Who Broke My Heart? is energetic and in constant swirling motion - also very free and from deep within. ?The Stairwell? is darker and much more mysterious, overflowing with Isadar?s intriguing accented rhythms and picturesque compositional style. My favorite track is the almost nine-minute ?Letting Go,? a piece that intertwines a series of musical vignettes into a powerful, colorful musical collage. I love the way Isadar seamlessly goes from flowing and smooth to a bouncy jazz style to high drama without missing a beat. Great stuff! ?En Face Du Miroir (Facing the Mirror)? is much lighter, with fingers dancing nimbly around the piano keyboard. The album closes with ?Blood ... Thicker Than Water,? again a combination of changing themes that could well be a musical family portrait - different personalities working separately and as a unit, bound together by the unseen ties that keep families together through thick and thin.
Isadar has created another piano masterpiece that should be more widely heard than his previous releases due to the success of Reconstructed. I hope so, anyway! Red is available from isadar.com, Amazon, iTunes, and CD Baby. Very highly recommended!
Isadar?s Red: Solo Piano Sheet Music Collection is a note-for-note transcription of all seven pieces from Isadar?s 2013 CD/download release by the same name. The music was transcribed by David Shenton (shentonmusic.com) with clear, concise notation that includes dynamics, pedaling and metronome settings.
Isadar is an amazing pianist with a style all his own, so this isn?t a book that most pianists will be able to just sit down and play. It will take some work and attention to detail to get this music right, but it will be well worth the effort. Having the recording for handy reference would be a big help.
Rhythms are often complex and syncopated, but are usually repeated within each piece, so once you have them, the rest will follow fairly easily. There are only a few chords with a reach of more than an octave and none of the key signatures are terribly difficult. The layout and spacing of the music is excellent, and the paper stock is a bright white 9?x12? format with a stapled binding.
If you enjoy listening to Isadar?s music, I?m sure you will enjoy playing it, too! This songbook is available from isadar.com. Recommended!
The songs with their key signatures and the number of pages is listed below:
Broken Valentine - C minor (3 flats) - 4 pages
Red - A minor (0 sharps or flats) - 5 pages
The Man Who Broke My Heart - A minor - 6 pages
The Stairwell - F# minor (3 sharps) - 7 pages
Letting Go - F minor (4 flats) / C minor (3 flats) - 8 pages
En Face Du Miroir (Facing the Mirror) - Ab (4 flats) / F minor/ Bb minor (5 flats) / Db (5 flats) - 7 pages
Blood ... Thicker Than Water - A Minor/ C (0) / F (1 flat) - 7 pages
Isadar is an artist on both Enlightened Piano Radio & Whisperings Solo Piano Radio, the latter featuring some of today's biggest names in solo piano music, including Ludovico Einaudi, David Nevue, Brian Crain, Kevin Kern, Robin Spielberg, Michele McLaughlin, Philip Wesley and over 300 more...
Also available as sheet music in physical songbooks, digital downloads, as well as software for Yamaha Disklavier player-pianos.
For more information, visit his website at: http://www.isadar.com
$5.99 ≈
5.59€
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
22.39€
Fuga a tre (3 part fugue) for wind trio
Fuga a tre (3 part fugue) for wind trio
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Contemporary
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Joseph Dillon Ford
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Fuga a tre
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David Warin Solomons2
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SheetMusicPlus
Woodwind Ensemble,Woodwind Trio - Level 3 - SKU: A0.958470 Composed by Joseph Dillon Ford. 20th Century. 7 pages. David Warin Solomons2 #3691569. Publis...
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Woodwind Ensemble,Woodwind Trio - Level 3 - SKU: A0.958470 Composed by Joseph Dillon Ford. 20th Century. 7 pages. David Warin Solomons2 #3691569. Published by David Warin Solomons2 (A0.958470). The Fuga a tre voci was composed on 28 March 1976 not long before I moved from Miami to Cambridge to begin graduate study in music at Harvard. It remained an imperfect sketch in need of extensive revisions, and languished for a quarter-century in a manila file folder until I rediscovered it late in 2001 and was pleased to find that it was worth the trouble of resurrecting. This was no easy task, as it was my original intention to comply closely with eighteenth-century contrapuntal practices. Although I had written numerous polyphonic pieces in a similar style since 1976, none of these was a fugue. There was also the challenge of reconnecting with musical ideas I had originated at the age of twenty-four at a time in my life when I was rapidly approaching the age of fifty. Still, I persevered in my efforts to revive and improve this early polyphonic essay, and hope the performer and listener will be as pleased with the results as I am. This three-voice fugue can be performed by any instrument or combination of instruments, including the harpsichord.
$7.00 ≈
6.53€
Fuga a tre (3 part fugue) for string trio
Fuga a tre (3 part fugue) for string trio
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String Trio: violin, viola, cello
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INTERMEDIATE
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Contemporary
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Joseph Dillon Ford
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Fuga a tre
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David Warin Solomons2
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SheetMusicPlus
String Ensemble,String Trio - Level 3 - SKU: A0.958467 Composed by Joseph Dillon Ford. 20th Century. Score and parts. 7 pages. David Warin Solomons2 #36...
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String Ensemble,String Trio - Level 3 - SKU: A0.958467 Composed by Joseph Dillon Ford. 20th Century. Score and parts. 7 pages. David Warin Solomons2 #3691565. Published by David Warin Solomons2 (A0.958467). The Fuga a tre voci was composed on 28 March 1976 not long before I moved from Miami to Cambridge to begin graduate study in music at Harvard. It remained an imperfect sketch in need of extensive revisions, and languished for a quarter-century in a manila file folder until I rediscovered it late in 2001 and was pleased to find that it was worth the trouble of resurrecting. This was no easy task, as it was my original intention to comply closely with eighteenth-century contrapuntal practices. Although I had written numerous polyphonic pieces in a similar style since 1976, none of these was a fugue. There was also the challenge of reconnecting with musical ideas I had originated at the age of twenty-four at a time in my life when I was rapidly approaching the age of fifty. Still, I persevered in my efforts to revive and improve this early polyphonic essay, and hope the performer and listener will be as pleased with the results as I am. This three-voice fugue can be performed by any instrument or combination of instruments, including the harpsichord.
$7.00 ≈
6.53€
The Singing Guitar
The Singing Guitar
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Guitar notes and tablatures
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INTERMEDIATE/ADVANCED
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Celtic/Irish
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Folkloric/Traditional
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El McMeen
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El McMeen
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The Singing Guitar
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Ellsworth McMeen
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SheetMusicPlus
Guitar, Fingerstyle guitar - Advanced Intermediate - Composed by El McMeen. Arranged by El McMeen. Gospel, Sacred, Folk, Celtic, Americana. 264 page...
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Guitar, Fingerstyle guitar - Advanced Intermediate - Composed by El McMeen. Arranged by El McMeen. Gospel, Sacred, Folk, Celtic, Americana. 264 pages. Published by Ellsworth McMeen
Internationally acclaimed guitarist Ellsworth ("El") McMeen has done over 220 solo fingerstyle guitar arrangements and compositions in the last 30 years. He has numerous recordings, books,
and DVD lessons and has concertized throughout the United States.
Of his work, he has selected for this voluminous book
60 pieces with his favorite melodies. (Among them is an instrumental
he composed for his wife, called "Song for Sheila.")
The music is diverse in genre and mood, but each piece is compelling in its own way.
Included are folk tunes, a classical piece, hymns, a patriotic song,
ancient Celtic harp music, lullabies, El's favorite Christmas song
("In the Bleak Midwinter"), El's favorite Irish jig ("The Kid on the Mountain"),
laments, love songs, and Irish airs.
El is included in the Digitaldreamdoor listing of the 100 Greatest Acoustic Guitarists.
https://tinyurl.com/GreatestGuitarists Several of his recordings are referenced here:
https://elmcmeen.bandcamp.com/
The audio sampler contains all or part of the following selections, in the CGDGAD tuning
except as otherwise indicated. (When El has recorded some of this music, he has used a capo,
usually at fret II or IV, for tonal atmosphere.)
1. America the Beautiful
2. Be Still, My Soul
3. Be Thou My Vision
4. Carolan's Concerto
5. Carolan's No. 179
6. Come, Thou Long-Expected Jesus
7. Give Me Your Hand
8. Hector the Hero
9. In the Bleak Midwinter
10. Jerusalem (Drop D)
11. Jesu, Joy of Man's Desiring
12. Kid on the Mountain
13. My Mary of the Curling Hair
14. Niel Gow's Lament for the Death of His Second Wife
15. Rose of Allendale
16. Song for Sheila
$35.00 ≈
32.67€
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