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21 sheet music found
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1
Nothing Gold Can Stay
Nothing Gold Can Stay
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Choral SATB
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Timothy P
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but only so an hour
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Nothing Gold Can Stay
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Heritage Music Press
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SheetMusicPlus
SATB choir, Piano - Digital Download SKU: LX.15-3768H Composed by Timothy P. Cooper. General. Octavo. 12 pages. Heritage Music Press #e15/3768H. Publishe...
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SATB choir, Piano - Digital Download SKU: LX.15-3768H Composed by Timothy P. Cooper. General. Octavo. 12 pages. Heritage Music Press #e15/3768H. Published by Heritage Music Press (LX.15-3768H). ISBN 9780787770174.Nature's first green is gold, her hardest hue to hold. Her early leaf's a flow'r; but only so an hour. Robert Frost's insightful words, dwelling on the inevitability that nothing lasts forever, come into sharper focus in this distinguished setting by Timothy Cooper. Written for mature high school or college and community ensembles, this piece displays a full palette of choral textures and colors without the addition of divisi or a cappella sections.
$2.50 ≈
2.29€
The Sundials
The Sundials
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Contemporary
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Matthew Scott Phillips
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a shadow
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The Sundials
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Matthew Scott Phillips
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SheetMusicPlus
Piano Trio,String Ensemble - Digital Download SKU: A0.1004152 Composed by Matthew Scott Phillips. Contemporary. Score and parts. 98 pages. Matthew Scott ...
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Piano Trio,String Ensemble - Digital Download SKU: A0.1004152 Composed by Matthew Scott Phillips. Contemporary. Score and parts. 98 pages. Matthew Scott Phillips #5800833. Published by Matthew Scott Phillips (A0.1004152). Throughout the centuries, civilizations have used sundials to tell time. This instrument consists of a gnomon (Greek for knower), a long pole or incline, whose shadow is cast onto a flat stone or metal plate, that either lies on the ground or is erected onto a wall. This plate is marked with the hours of the day, and the gnomon's shadow passes over the marks. More than just an ancient timepiece, these instruments are doorways to the eternal past, and prophets of the eternal future. They bare witness to the infinite fleeting-ness of the lives of human beings. Unlike a modern watch or digital clock, in which every second enjoys its own momentary significance, the hours as marked by the sundial flow into one another in a continuous stream, that is ultimately timeless. The final hour of any mortal creature is, in this way, no more significant than the first, and all our hours seem insignificant in the context of the cosmos' grandness. Etched upon a great many sundials, in Greek, Latin, English, German, or French, is a motto designed to inspire human beings to consider these truths. Why so many sundial makers felt the need to inscribe on their creations their own philosophies and musings is unclear. Yet, each of these mottos seems contrived to express the contemplations of time and eternity so integral to the sundials' existence. Mottos such as umbra sumus (we amount to shadow) often hold multiple meanings. The we referred to can be the hours, which seem extant only because of the shadow passing over them. Or it can refer to the ephemeral nature of our lives, which on the grand calendar of eternity are so short as to be nothing. Or perhaps it warns that time itself is no more than an illusion; a shadow. Whether they are existential, humorous (I only count the sunny hours), or offer advice (use the hours, don't count them), these mottos are intended to give us pause: to compel us to look for a moment, not at the fleeting significance of our mundane lives, ticked away as they are in tiny hours, but to consider the eternal time that lies beyond us, and to therefore be briefly in contact with it. This composition, approximately an hour long and written for piano trio (Piano, Violin, and Cello), intends as its goal the same purpose as the mottos that inspired it. To transport those who listen to it (listen not merely hear) away from the earthly, and into the cosmic. Each movement is named after a different motto. The mottos, their English translations and the locations of the sundials that bare (or once bore) them is listed at the front. This is one hour, hopefully, that will not simply fade away, but rather will be one spent in the company of the eternal. .
$7.00 ≈
6.42€
The Story Of Reuben Clamzo & His Strange Daughter
The Story Of Reuben Clamzo & His Strange Daughter
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Choral TTBB
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EASY
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo & H
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Edition Craig Hanson
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SheetMusicPlus
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octa...
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Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99 ≈
3.66€
Someday At Christmas
Someday At Christmas
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Bryan Wells and Ronald N
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Ulf and Ã…sa Nomark
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Someday At Christmas
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UNÃ… Music
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SheetMusicPlus
Choral Choral (3-Part) - Level 3 - Interactive Download SKU: A0.1300298 Composed by Bryan Wells and Ronald N. Miller. Arranged by Ulf and Ã…sa Nomark....
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Choral Choral (3-Part) - Level 3 - Interactive Download SKU: A0.1300298 Composed by Bryan Wells and Ronald N. Miller. Arranged by Ulf and Ã…sa Nomark. This edition: Interactive Download. Christmas,Pop. 12 pages. Duration 202. UNÃ… Music #4R3j32CsP6xJ3Nfr4rHINO. Published by UNÃ… Music (A0.1300298). Key: C major.This is an easy level choir arrangement of Stevie Wonder's wonderful christmas song Someday at Christmastime. Arranged for three parts; soprano, alto and combined tenor/bass (or baryton). Music and lyrics by: Ron Miller and Bryan Wells Performed by: Stevie Wonder Arranged by: Ulf Nomark for Pop-in & Sing. Philosophy of the Pop-in & Sing Choir arrangements: Known pop songs in a wide range of sub-genres and from the 70's and newly released songs. Easy to learn, usually within an hour The choir sing sings everything, we try to avoid verses with only uhs or ahs. So the arrangement are not backup vocals arrangement, but rather full arrangements where the choir carry the song all the way through. We usually have a shared tenor/bass part, but in some cases where the tenor part is high, we have a separate bass part. We usually try to follow the original quite closely, but sometimes makes simplifications in order to make the song easier to learn. Listen to the arrangement here: https://youtu.be/u1wKDvlSBYU For information about Pop-in & Sing - go to www.popinandsing.com.
$1.99 ≈
1.83€
Unstoppable
Unstoppable
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Choral 3-part
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INTERMEDIATE
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Pop music
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Sia
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Ulf Nomark
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soprano, alto and tenor
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Unstoppable
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UNÃ… Music
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SheetMusicPlus
Choral Choral (3-Part) - Level 3 - Interactive Download SKU: A0.1309471 By Sia. By Christopher Braide and Sia. Arranged by Ulf Nomark. This edition: Inte...
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Choral Choral (3-Part) - Level 3 - Interactive Download SKU: A0.1309471 By Sia. By Christopher Braide and Sia. Arranged by Ulf Nomark. This edition: Interactive Download. Pop. 14 pages. Duration 213. UNÃ… Music #6LkZ94VbK7ftkGpduwq4Za. Published by UNÃ… Music (A0.1309471). Key: A major.This is an medium level choir arrangement of Unstoppable by Sia. Arranged for three parts; soprano, alto and tenor. Philosophy of the Pop-in & Sing Choir arrangements: * Known pop songs in a wide range of sub-genres and from the 70's and newly released songs. * Easy to learn, usually within an hour * The choir sing sings everything, we try to avoid verses with only uhs or ahs. So the arrangement are not backup vocals arrangement, but rather full arrangements where the choir carry the song all the way through. * We usually have a shared tenor/bass part, but in some cases where the tenor part is high, we have a separate bass part. * We usually try to follow the original quite closely, but sometimes makes simplifications in order to make the song easier to learn. You can listen to the arrangement here: https://youtu.be/zidQek3nCB4 Do you want be able to listen to the parts separately? You can find the arrangement in the awesome rehearsal app for choirs: https://www.wearevoice.se/en. Do you want to be able to see the scores? Digitally you can see them in the awesome rehearsal app for choirs: https://www.wearevoice.se/en.
$1.99 ≈
1.83€
Easy On Me
Easy On Me
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Choral 3-part
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INTERMEDIATE
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Pop music
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Adele
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Ã…sa & Ulf Nomark
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Easy On Me
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UNÃ… Music
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SheetMusicPlus
Choral Choral (3-Part) - Level 3 - Interactive Download SKU: A0.1309874 By Adele. By Adele Adkins and Greg Kurstin. Arranged by Ã…sa & Ulf Nomark. Thi...
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Choral Choral (3-Part) - Level 3 - Interactive Download SKU: A0.1309874 By Adele. By Adele Adkins and Greg Kurstin. Arranged by Ã…sa & Ulf Nomark. This edition: Interactive Download. Pop. 10 pages. Duration 243. UNÃ… Music #4VAxuABuKeTX4zlDJkXwdu. Published by UNÃ… Music (A0.1309874). Key: F major.This is an arrangement for SAT of Adele's beautiful ballad Easy on me. Philosophy of the Pop-in & Sing Choir arrangements: * Known pop songs in a wide range of sub-genres and from the 70's and newly released songs. * Easy to learn, usually within an hour * The choir sing sings everything, we try to avoid verses with only uhs or ahs. So the arrangement are not backup vocals arrangement, but rather full arrangements where the choir carry the song all the way through. * We usually have a shared tenor/bass part, but in some cases where the tenor part is high, we have a separate bass part. * We usually try to follow the original quite closely, but sometimes makes simplifications in order to make the song easier to learn. Listen to the arrangement on YouTube: https://www.youtube.com/watch?v=-rCkeqGdeBU https://www.youtube.com/@popinandsing Do you want be able to listen to the parts separately? You can find the arrangement in the awesome rehearsal app for choirs: https://www.wearevoice.se/en.
$1.99 ≈
1.83€
Fragile
Fragile
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Choral 3-part
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BEGINNER
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Pop music
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Gordon Matthew Sumner
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Ulf Nomark
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Fragile
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UNÃ… Music
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SheetMusicPlus
Choral (3-Part) - Level 1 - Interactive Download SKU: A0.1281188 Composed by Gordon Matthew Sumner. Arranged by Ulf Nomark. This edition: Interactive Dow...
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Choral (3-Part) - Level 1 - Interactive Download SKU: A0.1281188 Composed by Gordon Matthew Sumner. Arranged by Ulf Nomark. This edition: Interactive Download. Pop. Octavo. 8 pages. Duration 257. UNÃ… Music #1DXwJ2Z28qI7UD8AhXJ79o. Published by UNÃ… Music (A0.1281188). Key: G major.This is an easy level choir arrangement of Sting's classic song Fragile. Arranged for three parts; soprano, alto and combined tenor/bass (or baryton). Music and lyrics by: Gordon Sumner (Sting) Arranged by: Ulf Nomark for Pop-in & Sing. Philosophy of the Pop-in & Sing Choir arrangements: * Known pop songs in a wide range of sub-genres and from the 70's and newly released songs. * Easy to learn, usually within an hour * The choir sing sings everything, we try to avoid verses with only uhs or ahs. So the arrangement are not backup vocals arrangement, but rather full arrangements where the choir carry the song all the way through. * We usually have a shared tenor/bass part, but in some cases where the tenor part is high, we have a separate bass part. * We usually try to follow the original quite closely, but sometimes makes simplifications in order to make the song easier to learn. Listen to the arrangement here: https://youtu.be/zsXLXmAj5fw For information about Pop-in & Sing - go to www.popinandsing.com.
$1.99 ≈
1.83€
Can't Stay Away
Can't Stay Away
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Choral 3-part
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BEGINNER
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Pop music
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Darin and Jamie Alexander Hart
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Ã…sa & Ulf Nomark
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Can't Stay Away
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UNÃ… Music
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SheetMusicPlus
Choral Choral (3-Part) - Level 1 - Interactive Download SKU: A0.1303360 Composed by Darin and Jamie Alexander Hartman. Arranged by Ã…sa & Ulf Nomark. ...
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Choral Choral (3-Part) - Level 1 - Interactive Download SKU: A0.1303360 Composed by Darin and Jamie Alexander Hartman. Arranged by Ã…sa & Ulf Nomark. This edition: Interactive Download. Pop. 12 pages. Duration 173. UNÃ… Music #2ElEczyqyZRef79zUqtepR. Published by UNÃ… Music (A0.1303360). Key: Bb major.Philosophy of the Pop-in & Sing Choir arrangements: * Known pop songs in a wide range of sub-genres and from the 70's and newly released songs. * Easy to learn, usually within an hour * The choir sing sings everything, we try to avoid verses with only uhs or ahs. So the arrangement are not backup vocals arrangement, but rather full arrangements where the choir carry the song all the way through. * We usually have a shared tenor/bass part, but in some cases where the tenor part is high, we have a separate bass part. * We usually try to follow the original quite closely, but sometimes makes simplifications in order to make the song easier to learn.
$1.99 ≈
1.83€
You Are Not Alone (SATB divisi)
You Are Not Alone (SATB divisi)
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Choral SATB
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INTERMEDIATE
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Contemporary
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D
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You Are Not Alone
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D. M. Gardner Music
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 3 - Digital Download SKU: A0.799645 Composed by D. M. Gardner. Contemporary. Octavo. 9 pages. D. M. Gardner Music #518...
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Choral Choir (SATB divisi) - Level 3 - Digital Download SKU: A0.799645 Composed by D. M. Gardner. Contemporary. Octavo. 9 pages. D. M. Gardner Music #51883. Published by D. M. Gardner Music (A0.799645). Worse than any fear is being alone when experiencing it. But in love, there is an awareness that transcends scientific explanation. ...A connection so strong that it permeates seemingly impossible barriers. So, when we know someone we love is afraid, we long to comfort them in any way we can. We hope and pray that even in their hour of greatest difficulty or isolation, we can somehow reach out to them...If only to say, My Love, you are not alone.The male and female voices of the choir tell the story from their own points of view, but gradually emerge together in each other's comforting presence. From moments of despair to the final moments of peace, the rich warmth of the 8-part chorus beautifully reveals the tenderness of love and the power of hope and peace it can provide.Approx. 5'18 in length.To learn more about the composer, please visit https://www.dmgardner.com
$1.99 ≈
1.83€
Anyone
Anyone
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String Trio: 2 violins, cello
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INTERMEDIATE
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Pop music
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Justin Bieber
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Sarah Cellobat Chaffee
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Anyone
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Sarah Cellobat Chaffee
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SheetMusicPlus
String Trio Cello,Violin - Level 3 - Digital Download SKU: A0.1222225 By Justin Bieber. By Alexander Izquierdo, Andrew Watt, Jon Bellion, Jordan Johnson,...
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String Trio Cello,Violin - Level 3 - Digital Download SKU: A0.1222225 By Justin Bieber. By Alexander Izquierdo, Andrew Watt, Jon Bellion, Jordan Johnson, Justin Bieber, Michael Pollack, Raul Cubina, and Stefan Johnson. Arranged by Sarah Cellobat Chaffee. Contemporary,Pop,Wedding. 14 pages. Sarah Cellobat Chaffee #818487. Published by Sarah Cellobat Chaffee (A0.1222225). *INSTRUMENTATION: 2 VIOLINS & CELLO*Released by Justin Bieber as a single in January of 2021, Anyone was intended to be a hopeful, optimistic anthem setting a positive tone for the new year. And this fun and upbeat song definitely did lift peoples' spirits -- it became so popular that it was certified double platinum and received a Grammy nomination! With lyrics like You are the only one I'll ever love, the song has also since become popular for weddings and receptions, so you can't go wrong adding this one to your gig books! This Cellobat arrangement for your two-violin and cello trio was originally written for a wedding ceremony, but it will also be perfect for receptions, cocktail hour, proposals, parties, and more. Maintaining the upbeat groove, beautiful harmonies, and epic feel of the original, you're sure to get your audience dancing! Rated intermediate; this will be playable for students and easily sightreadable for professionals.Sarah “Cellobat†Chaffee is an in-demand acoustic & electric cellist and string arranger. Currently, she performs with legendary rock band Aerosmith in their “Deuces Are Wild†residency show, and she is the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays with many other groups including Premiere Wedding Music, Bella Electric Strings, the Femmes Of Rock, and David Perrico’s Pop Strings Orchestra. Sarah has performed and recorded with numerous other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Michael Bublé, Sarah Brightman, and Lady A. She is the exclusive arranger for a number of award-winning wedding and event companies all across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles all over the world. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobat.
$14.99 ≈
13.75€
O Sacred Head Now Wounded solo with flute or violin or cello and piano
O Sacred Head Now Wounded solo with flute or violin or cello and piano
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Hassler, Bach, Alexander
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Connie Boss
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O Sacred Head Now Wounded solo
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Connie Boss
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SheetMusicPlus
Alto Voice,Cello,Flute,Violin - Level 3 - Digital Download SKU: A0.1370999 Composed by Hassler, Bach, Alexander. Arranged by Connie Boss. Easter,Holiday,...
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Alto Voice,Cello,Flute,Violin - Level 3 - Digital Download SKU: A0.1370999 Composed by Hassler, Bach, Alexander. Arranged by Connie Boss. Easter,Holiday,Lent,Religious,Sacred. 7 pages. Connie Boss #955345. Published by Connie Boss (A0.1370999). This song is great for Lent, Palm Sunday and especially Good Friday. I have added an interesting intro. TThere are lots of lyrics out there, but I used the ones by Alexander and then changed some of the lyrics and added verse 2. This arrangement has optional instruments with parts included. Each instrument plays the same part so only one is needed. If you prefer sheet music without, you can purchase just the vocals and piano on here as well. Questions or requests, email cdboss@cvalley.netLyrics:O Sacred HeadA crown of thornsPlaced on Your HeadNow woundedO sacred Head, now wounded,with grief and shame weighed down,now scornfully surroundedwith thorns, Your only crown;O Jesus Christ, how painfulthe thorns that pierce your headyour face is filled with sorrowas you soon face your deathO sacred Head, now woundedThey stripped you of your clothesCast lots to claim their prizesThey put you on a showYou carried the cross of burdensOf all who lived in sinYou died to save their sorrowsTheir new life would beginBe Thou my consolation,my shield when I must die;remind me of Your passionwhen my last hour draws nigh.Mine eyes shall then behold you,the cross at calvaryyou hung there for our sorrowsyou gave your life for meYouTube Link.
$6.99 ≈
6.41€
O Sacred Head Now Wounded duet with flute or violin or cello and piano
O Sacred Head Now Wounded duet with flute or violin or cello and piano
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Hassler, Bach, Alexander
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Connie Boss
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O Sacred Head Now Wounded duet
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Connie Boss
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SheetMusicPlus
Alto Voice,Cello,Flute,Piano Accompaniment,Soprano voice,Violin - Level 3 - Digital Download SKU: A0.1370993 Composed by Hassler, Bach, Alexander. Arrang...
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Alto Voice,Cello,Flute,Piano Accompaniment,Soprano voice,Violin - Level 3 - Digital Download SKU: A0.1370993 Composed by Hassler, Bach, Alexander. Arranged by Connie Boss. Easter,Holiday,Lent,Religious,Sacred. 7 pages. Connie Boss #955339. Published by Connie Boss (A0.1370993). This song is great for Lent, Palm Sunday and especially Good Friday. I have added an interesting intro. There are lots of lyrics out there, but I used the ones by Alexander and then changed some of the lyrics and added verse 2. This arrangement has optional instruments with parts included. Each instrument plays the same part so only one is needed. If you prefer sheet music without, you can purchase just the vocals and piano on here as well. Questions or requests, email cdboss@cvalley.netLyrics:O Sacred HeadA crown of thornsPlaced on Your HeadNow woundedO sacred Head, now wounded,with grief and shame weighed down,now scornfully surroundedwith thorns, Your only crown;O Jesus Christ, how painfulthe thorns that pierce your headyour face is filled with sorrowas you soon face your deathO sacred Head, now woundedThey stripped you of your clothesCast lots to claim their prizesThey put you on a showYou carried the cross of burdensOf all who lived in sinYou died to save their sorrowsTheir new life would beginBe Thou my consolation,my shield when I must die;remind me of Your passionwhen my last hour draws nigh.Mine eyes shall then behold you,the cross at calvaryyou hung there for our sorrowsyou gave your life for me.
$6.99 ≈
6.41€
O Sacred Head Now Wounded trio with flute or violin or cello and piano
O Sacred Head Now Wounded trio with flute or violin or cello and piano
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Hassler, Bach, Alexander
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Connie Boss
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O Sacred Head Now Wounded trio
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Connie Boss
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SheetMusicPlus
Alto Voice,Cello,Flute,Piano Accompaniment,Soprano voice,Violin - Level 3 - Digital Download SKU: A0.1371022 Composed by Hassler, Bach, Alexander. Arrang...
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Alto Voice,Cello,Flute,Piano Accompaniment,Soprano voice,Violin - Level 3 - Digital Download SKU: A0.1371022 Composed by Hassler, Bach, Alexander. Arranged by Connie Boss. Easter,Holiday,Lent,Religious,Sacred. 7 pages. Connie Boss #955346. Published by Connie Boss (A0.1371022). This song is great for Lent, Palm Sunday and especially Good Friday. I have added an interesting intro. There are lots of lyrics out there, but I used the ones by Alexander and then changed some of the lyrics and added verse 2. This arrangement has optional instruments with parts included. Each instrument plays the same part so only one is needed. If you prefer sheet music without, you can purchase just the vocals and piano on here as well. Questions or requests, email cdboss@cvalley.netLyrics:O Sacred HeadA crown of thornsPlaced on Your HeadNow woundedO sacred Head, now wounded,with grief and shame weighed down,now scornfully surroundedwith thorns, Your only crown;O Jesus Christ, how painfulthe thorns that pierce your headyour face is filled with sorrowas you soon face your deathO sacred Head, now woundedThey stripped you of your clothesCast lots to claim their prizesThey put you on a showYou carried the cross of burdensOf all who lived in sinYou died to save their sorrowsTheir new life would beginBe Thou my consolation,my shield when I must die;remind me of Your passionwhen my last hour draws nigh.Mine eyes shall then behold you,the cross at calvaryyou hung there for our sorrowsyou gave your life for meYouTube Link.
$7.99 ≈
7.33€
A Cassandre for spoken voice and bassoon
A Cassandre for spoken voice and bassoon
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David Warin Solomons
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A Cassandre for spoken voice a
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David Warin Solomons
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SheetMusicPlus
Instrumental Duet Bassoon,Instrumental Duet,Voice - Digital Download SKU: A0.576770 Composed by David Warin Solomons. Contemporary,Renaissance. Score and...
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Instrumental Duet Bassoon,Instrumental Duet,Voice - Digital Download SKU: A0.576770 Composed by David Warin Solomons. Contemporary,Renaissance. Score and parts. 2 pages. David Warin Solomons #429021. Published by David Warin Solomons (A0.576770). Setting of Ronsard's poem A Cassandre for speaking voice and bassoon In the sound sample the poem is spoken in modern French by my father S N Solomons who also created an English version as shown below The bassoon part is based on the song To Cassandra for alto and guitar, using my father's translation, which is also available on this site Mignonne, allons voir si la rose Qui ce matin avoit desclose Sa robe de pourpre au Soleil, A point perdu ceste vesprée Les plis de sa robe pourprée, Et son teint au vostre pareil. Las ! voyez comme en peu d'espace, Mignonne, elle a dessus la place Las ! las ses beautez laissé cheoir ! Ô vrayment marastre Nature, Puis qu'une telle fleur ne dure Que du matin jusques au soir ! Donc, si vous me croyez, mignonne, Tandis que vostre âge fleuronne En sa plus verte nouveauté, Cueillez, cueillez vostre jeunesse : Comme à ceste fleur la vieillesse Fera ternir vostre beauté. [English translation by SN Solomons] Darling, come see the rose so red, Which this morn timidly had spread Her mantle to the eye of day. Come see if she has lost this e'en Her crimson pleated robe's soft sheen, That same blush which on your cheek plays. See how in but a paltry hour She has let fall her ailing flower. Her beauty lies there in the dust! Alas! How cruel is Mother Nature, Since such a blossom can endure Only from trembling dawn to dusk. Darling you must indeed believe, Whilst innocence within you cleaves The bud and blooms in purity, Garner the gifts of tender youth, For, like this flower, age in sooth Will sadly spoil and tarnish beauty.].
$8.00 ≈
7.34€
Head Over Heels
Head Over Heels
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String Quartet: 2 violins, viola, cello
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INTERMEDIATE
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Tears For Fears
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Sarah Cellobat Chaffee
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ensemble contest, and more
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Head Over Heels
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Sarah Cellobat Chaffee
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1241430 By Tears For Fears. By Curt Smith and Roland Orzabal. Arran...
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1241430 By Tears For Fears. By Curt Smith and Roland Orzabal. Arranged by Sarah Cellobat Chaffee. Contemporary,Film/TV,Pop,Rock,Wedding. 20 pages. Sarah Cellobat Chaffee #836795. Published by Sarah Cellobat Chaffee (A0.1241430). Head Over Heels was released in 1985 by British rock band Tears For Fears as a single from their second studio album, Songs from the Big Chair. Described by their singer as a romance song that goes a bit perverse at the end, this incredibly catchy song proved to be successful with audiences all over the globe -- not only did it reach the top 5 on the US Billboard charts, but it also charted in the top 40 in the UK and several other countries! Head Over Heels remains a very popular track to this day, thanks in part to a feature in the cult classic film Donnie Darko, so you really can't go wrong adding this one to your gig books. This Cellobat arrangement for your string quartet features the soaring melodies, catchy synth hooks, unusual and intriguing harmonies, and danceable beat of the original for a chart your group will love to play! Originally written for a wedding ceremony, this will also be perfect for cocktail hour, receptions, parties, proposals, solo & ensemble contest, and more. Rated intermediate; this will be playable for students and easily sightreadable for professionals.Sarah “Cellobat†Chaffee is an in-demand acoustic & electric cellist and string arranger. Currently, she performs with legendary rock band Aerosmith in their “Deuces Are Wild†residency show, and she is the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays with many other groups including Premiere Wedding Music, Bella Electric Strings, the Femmes Of Rock, and David Perrico’s Pop Strings Orchestra. Sarah has performed and recorded with numerous other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Michael Bublé, Sarah Brightman, and Lady A. She is the exclusive arranger for a number of award-winning wedding and event companies all across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles all over the world. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobat.
$16.99 ≈
15.59€
Paisley's Sonata
Paisley's Sonata
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Piano solo
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INTERMEDIATE/ADVANCED
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Michael C
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Paisley's Sonata
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Michael C. Brown
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SheetMusicPlus
Piano Solo - Level 4 - Digital Download SKU: A0.1030831 Composed by Michael C. Brown. 20th Century,Romantic Period. Score. 23 pages. Michael C. Brown #40...
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Piano Solo - Level 4 - Digital Download SKU: A0.1030831 Composed by Michael C. Brown. 20th Century,Romantic Period. Score. 23 pages. Michael C. Brown #4051. Published by Michael C. Brown (A0.1030831). This piece celebrates the life and mourns the loss of my granddaughter, Paisley Gladys Hogan, who was but 2 months old when she was called to Heaven. These are the words I wrote just before her funeral.... I. The Presence - She was here. I held her the day she was born. I held her and watched her smile at me less than 24 hours before she departed. She only knew love. No one around her ever showed her anything else that humanity had to offer; like hatred, heartache, pain, control, or anger. II. The Shock - She feels a Hand beckon her to leave her mortal coil, and she enters into a world we cannot yet reach.. With no one home, her former body ceases to wake. The unimaginable has happened and we struggle to reverse it. Finally, it becomes clear that we cannot. She sees us cry and she wonders what is happening. Having never known sorrow, she only sees that love didn't cause this response. She wants to comfort us with the love she knows, but we do not yet sense it. III. The Questions - One word has confounded mankind from its creation; Why? We have never found an acceptable answer. We ask, Why did this happen? and What did I do? and What didn't we do right? and Why couldn't it have been me? among others. We only know that her absence has carved holes in our hearts shaped like her. She tries to tell us, You can still love me. I just cannot be seen by you now. It does not mean your love cannot make me happy. I still want it. I still feel it. Please feel my love for you. IV. Letting Go - The day comes to bid farewell to the vehicle by which she came to us. We struggle to cope that we will see her face no more except in pictures. Because of the brevity of her life, memories are few to relive, but to do so is to recall happiness. In sorrow, we return her to the earth. All that is left is to return to recall, to talk to her, to bring flowers and other gifts, and to await the day we follow her. V. Remembering - The days and years follow. Normalcy slowly sets back into our lives. The holes in our hearts will never fully heal. But the salve of her love and her memory help to soothe the ache. We still return to where we placed her mortal home, where we laugh and cry in tandem, where our hearts ache to fill the void left by her departure. It will never really get better, but it will become easier for her love to dull the sting of her absence. VI. The Reunion - One by one, we will feel the same Hand bid us to come. The same events will befall those left behind each time. One by one, she will greet us as we reunite with her. We marvel at how she has stayed with us as we stay to comfort those we had just bidden farewell. The rest cannot be imagined by we that remain..........
$4.99 ≈
4.58€
Preghiera
Preghiera
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Piano solo
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Monica Bergo
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Preghiera
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Monica Bergo
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SheetMusicPlus
Piano Solo - Digital Download SKU: A0.976836 Composed by Monica Bergo. Christian,Sacred,Spiritual. Score. 7 pages. Monica Bergo #3235483. Published by Mo...
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Piano Solo - Digital Download SKU: A0.976836 Composed by Monica Bergo. Christian,Sacred,Spiritual. Score. 7 pages. Monica Bergo #3235483. Published by Monica Bergo (A0.976836). 2017 Holiday Contest EntryPrayer I remember, as a child That church scared me low voices, eyes down And people did not laugh Your suffering face From the cross looking at me your hands tormented And the blood dripping And I remember those nights when I will praying and invoked you Change quickly my life Only this I was wondering And I was fragile Like a leaf in the wind so useless prey to every torment and I was still but always in motion voice of the soul screaming without complaint I remember gray days in which I was looking for you, and you begged and the silence around me amplified my empty and retrace the hours when there was nothing to hold onto and the question was: God exist or not? Kneeling in your church They say this is your home I am seeking warmth and yet I feel stateless And it was cold the bench, as my heart I look at your mother and her pain To be loved, is what I want too And I will pray It will be an incredible dialogue Inside me I hear you in every fiber of my being and reborn we are born to regret because every day here we die a little ' I will rise again? and I will pray and your voice that will envelop me already it turns into freedom you, father, friend You know that peace do not ever leave me stops my time at this moment while you're in me, so present I ask for nothing more and you are shelter and belief a search of attention I always hovering well between damnation and redemption no fate is already sealed and you delete my past and my days without faith I leave them behind me a thousand prayers I will invent I do not follow a book, I have only one chant written by my Lord, I do not see but it is always beside me ... .. Monica Bergo
$3.99 ≈
3.66€
Ernesto García de León - 20 Estudios (20 Studies), Op. 50 - Collected Works, Volume 2
Ernesto García de León - 20 Estudios (20 Studies), Op. 50 - Collected Works, Volume 2
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Guitar
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Studies
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Ernesto Garcia de Leon
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Ernesto García de León - 20
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Michael Lorimer Editions
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SheetMusicPlus
Composed by Ernesto Garcia de Leon (1952-). 20th Century, Contemporary Classical, Impressionistic. Score. 36 pages. Published by Michael Lorimer Editi...
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Composed by Ernesto Garcia de Leon (1952-). 20th Century, Contemporary Classical, Impressionistic. Score. 36 pages. Published by Michael Lorimer Editions
Ernesto García de León's 20 Studies, Op. 50 is an ingenious collection thataddresses fundamental questions about how to develop and maintain guitar technique. It is designed toserve guitar teachers and students as well as performers and concert audiences. Since it explores notjust the technique of our instrument, but its musicaland expressive aspects as well, it makes daily technical work enjoyable, not tedious—even for someone only beginning to study the guitar.
For guitar teachers and students, 20 Studies canserve as a basic curriculum or it can complementother methods or other sets of studies. For performers, it provides a complete overview and tune-up ofthe guitar technique in one graded set of daily studies that can be played in less than half an hour. Thiswarm-up then provides the player delicious concertrepertoire—as the complete set, or in smaller groups,or in combinations with other music by ErnestoGarcía de León.
These musical exercises are also useful to rectify,reform or rehabilitate the guitar technique.
The materials out of which the twenty studies aredeveloped are first idiomatic patterns of the guitarand then the variety of musical styles so appealing toand characteristic of Ernesto García de León. For example, classic examples of the music of theCaribbean coastal basin in general and thecomposer's native state Veracruz in particular appearunvarnished in #12 (a rumba veracruzana) and #20(a son). The other studies blend elements of Mexicanmusic in general—songs of the revolution, nativedances, boleros, children's songs, and so forth—withelements of European classical music, Beatles, NewAge music, jazz and other musical styles, in a wayintended to appeal to the player and to the listener.
As the summary on pages 34 and 35 illustrates,the first sixteen studies explore basic formulas for theright hand. At the same time, they also address thefull range of left hand techniques—including balanceand positioning, independence of the fingers, longitudinal and transversal movements, shifts by substitution, by displacement, by jump, and by positions,barring, stretches and contractions, damping, pivoting, crossed movements, and movements with fixedfingers. The last four studies concern the slur.
Though each of the basic right- and left-hand formulas explored in the twenty studies is relativelysimple in itself, each is a building block of a solidtechnique. Mastery of the complete set of twentystudies—less than half an hour of music—integratesall the formulas and develops the technique to a levelat which an enormous range of the guitar repertoirebecomes available.
$16.95 ≈
15.55€
Playing with Scales
Playing with Scales
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Richard Hirsch
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Playing with Scales
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Richard Hirsch
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SheetMusicPlus
Guitar - Level 2 - Digital Download SKU: A0.1314698 Composed by Richard Hirsch. Instructional. Educational Exercises. 8 pages. Richard Hirsch #903442. Pu...
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Guitar - Level 2 - Digital Download SKU: A0.1314698 Composed by Richard Hirsch. Instructional. Educational Exercises. 8 pages. Richard Hirsch #903442. Published by Richard Hirsch (A0.1314698). Many amateur guitarists and beginning students of guitar are ‘stuck in the first position’. The rest of the fretboard is ‘terra incognita’. They don’t know where the notes are and they don’t know how to get to them and use them in playing melodies. To help remedy this situation, I offer a collection of scales and exercises I have developed over the years that have helped me master the fretboard of the guitar and that I have used to warm up my left and right hands before practicing or playing proper pieces. Guitarists afraid to move up the fretboard miss out on all the tonal nuances that the guitar has to offer. They also often have undeveloped left hand technique with a little finger that flies around helplessly and uselessly. These scales and exercises will, if played regularly, put the little finger to good use and guide the left hand to orient to the fretboard properly, staying close to the fretboard with fingers that move as little and as efficiently as possible. They are also relaxing and fun to play around with. I read somewhere a while back that medical science had found that pianists were less likely to develop brain diseases. The scientists attributed this to the many hours pianists spend playing scales, as this is like a gentle brain massage. So scales are not only good warm up exercises for the fingers but also good warm-ups for the brain.The scale exercises written here in the keys of G and C should be played in different keys in higher positions on the fretboard. Students can try to see just how far up the neck they can go to reach the highest notes. After a while, what seemed challenging and strange will start to feel comfortable and familiar. Don’t hesitate to develop new variants of the scales when you grow tired of playing them as I propose here. Have fun playing and playing with the scales!The exercises often start in one position and move toward other higher or lower positions on the fretboard. When moving from one position to another, follow the suggested fingerings to utilise what is called a lead finger to move the hand to the next position. This will make the movement smooth and not interrupt the flow of the scale. In the end all movement should look and feel seamless and effortless.I have chosen scales in major keys I think are particularly good to play on the guitar. To practice a scale in a minor key, start the exercise in the related major key from the fundamental of the minor key, for example, to play an E minor scale start the G major exercise on an E and play from there. This is one way of creating new variants of these scales. Another way to vary the exercises is to play the scales in different time signatures or rhythms.I believe these exercises are particularly helpful for amateur guitarists who play in ensembles of different kinds, duos, trios, quartets, where the guitarist often only has one melodic line to play. Such melodies often sound much better played in higher positions where the guitar can be made to sing, rather than in the first position where the same tones, especially on open strings, often sound rather dull. From my own experience, I find that when I play a melody in a higher position using all the fingers of the left hand, the melody not only sounds better, the fingers remember the melody better.Â
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Fifteen Safari Duets for Tubas
Fifteen Safari Duets for Tubas
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2 Tubas (duet)
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EASY
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Jazz
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Gregory Fritze
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Fifteen Safari Duets for Tubas
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Musica Nova USA
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SheetMusicPlus
Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, Etudes and Exercises. Score. 38 pages. Published by Musica Nova US...
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Composed by Gregory Fritze. Classical Period, Contemporary Classical, Jazz, Method, Etudes and Exercises. Score. 38 pages. Published by Musica Nova USA
Fifteen Safari Duets for Tubas was composed for playing duets with my tuba students. The fifteen duets are at different levels of difficulty and various styles so that we always had duets to play no matter what ability of student. There is something in each duet for students to learn from the basics of tone production, rhythms, melodic phrasing, jazz, graphic notation, etc. Most are sight readable and some have been performed in concerts. They are all fun to play. Although for tubas, they may be played on any instrument.
In 1988 I spent a month in Kenya on safari and experiencing the African wildlife and culture, thus the inspiration for these duets that were composed soon after the trip in 1989 and 1990 and have been a regular part of my teaching ever since. Four of these duets are recorded on the compact disc “Tuba Safari” (Troy 1173) on Albany Records.
1. Elephants at Stave
This duet presents the cantabile style studied for playing the tuba. I find that this duet helps the student much like the melodies of Borgodni etudes. There are more elephants in Tsavo than anywhere else in Kenya. It was not uncommon to see large families of thirty elephants at a time.
2. Gallop – Thompson Gazelle at Amboseli
This duet provides an opportunity to read in a sharp key, D major, as well as basic rhythms and articulations. I find that the more advanced students can read in a faster tempo and other students can work in a slower tempo – a common choice in all of the duets. Large herds of playful Thompson Gazelle were a usual occurrence in most of the game parks in Kenya.
3. Rhinos at Nairobi Game Park
This waltz helps the student match phrasing in a cantabile setting. There are a few instances where the teacher (playing the first part) plays a phrase then the student plays a similar phrase. The rhinoceros is a very noble animal that can grow to more that 1,000 pounds and is known for its horn. The Nairobi game park is located just outside the city, giving a sense of surrealism to the panorama.
4. Giraffes at Nairobi Twiga Park
This is in a “rock” style with syncopated rhythms and cantabile melodies. The Nairobi Twiga park is just outside the city and is the only place where one can feed the giraffes. Along with their long necks they have very long tongues.
5. Warthogs at Ngulia
Legato scales and syncopated rhythms are the features of this duet. Warthogs have tails that are held upright when they run.
6. Baboons at Kiliguni
This duets alternates in rock style and swing. Baboons are sometimes a problem because they will try to steal food from the tourists’ tables. They will work together where one causes a diversion while the others steal.
7. Pastoral – Cape Buffalo at Samburu
The key of A for this duet gives variation for the students. Cape Buffalo are in large herds on the savanna. The Samburu Lodge dining area was built next to a watering hole. At the beginning of breakfast there were no animals, but in fifteen minutes more than 500 cape buffalo were at the water hole.
8. Song - Hippos at Mzima Springs
This is the easiest of rhythms and range of the duets, especially for the 2nd(student) part. Hippopotamuses can grow up to 4,000 pounds and spend most of their time sleeping in the water during the day. At night they go on land to hunt.
9. Leopards at Kimana Lodge
This duet is non-metric and uses graphic notation. This was a favorite duet of my students as many have never experienced this notation before. The leopard is a large predatory cat that usually hunts at night.
10. Colobus Monkeys at the Ark
This is an Invention in the Bach style. The Ark is a building that was built in 1969 at a watering hole for tourists to watch wildlife. The colobus monkey is black with white on its forearms and chest.
11. Zebra Migration at Masai Mara
This duet is in a “Medium Swing” jazz style. The great migration between the Masai Mara and Serengeti involves about two million wildebeest, zebras and other animals every year. It is considered one of the most impressive natural events worldwide.
12. Ostrich at Samburu
This duet works on double time and half time. The ostrich is the largest bird in the world. In Samburu there was an ostrich that hung around the lodge, her name was Margaret. She was very friendly with everybody but she would steal your hat.
13. Cheetah at Voi
This is another duet that includes graphic notation. The cheetah can run up to 80 miles an hour when chasing after prey. When not hunting prey it often walks very slowly.
14. Gallop – Gerenuk at Buffalo Springs
This gallop displays different types of articulation. The gerenuk is an antelope with a slightly extended neck so it can eat higher leaves from trees.
15. Lions at Mara Sopa
This duet is in the style of a fanfare. The lion is considered the king of the savanna.
Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Tuba Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over one hundred compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally including First Prize in the 1991 TUBA Etude Contest. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world. Many of his compositions are available on ITunes, Youtube and Soundcloud.
His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
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