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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. â€˜Is that you kids?â€™ 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 shipâ€¦ 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 knowâ€”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 â€¦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.

The Story Of Reuben Clamzo & His Strange Daughter Chorale TTBB
Arlo Guthrie
$3.99 3.78 € Chorale TTBB PDF SheetMusicPlus

Piano Solo - Digital Download

SKU: A0.933358

Composed by Kyle Robert Balitz. Classical,Contemporary,Romantic Period,Spiritual. Score. 4 pages. Kyle Balitz #54899. Published by Kyle Balitz (A0.933358).

Grassy Hills Under the Starlight Sky v 2 DISCOGRAPHY: 2uo7rax releases two albums: 1.) The Rule to 2.u0 and 2.) Brother 2u.0. And the third album: 3.) Spiri7rax is still in progress. 2uo8eats first album: 1.) Heavy Rain is still in progress. REALGroupStation's first album 1.) Servitude is available. LINKS: 2uo7rax Download 2uo7rax's FREE Instrumental Albums Here: http://2uo7rax.bandcamp.com http://www.reverbnation.com/2uo7rax 2uo7rax's YouTube Channel: http://www.youtube.com/2uo7rax 2uo7rax's Social Links: http://www.facebook.com/2uo7rax http://www.twitter.com/2uo7rax 2uo8eats Download 2uo8eat's FREE Beat Albums Here: http://2uo8eats.bandcamp.com http://www.reverbnation.com/2uo8eats 2uo8eat's YouTube Channel: http://www.youtube.com/2uo8eats 2uo8eat's Social Links: http://www.facebook.com/2uo8eats http://www.twitter.com/2uo8eats REALGroupStation Download REALGroupStation's FREE Vocal Albums Here: http://REALGroupStation.bandcamp.com http://www.reverbnation.com/REALGroupStation REALGroupStation's YouTube Channel: http://www.youtube.com/REALGroupStation REALGroupStation's Social Links: http://www.facebook.com/REALGroupStation http://www.twitter.com/REALGroupS BIOGRAPHY: 2uo7rax is an orchestral/piano/instrumental music production company founded by Travis Balitz & Kyle Balitz. 2uo7rax is also an affiliate with 2uo8eats, which specialize in high quality beats. 2uo8eats is a beat production company founded by Travis Balitz & Kyle Balitz. 2uo8eats is also an affiliate with 2uo7rax, which specialize in high quality instrumentals. REALGroupStation is a vocal music production company funded by TraVisT & KyoTicK. WARNING: It is recognized that various programs may be used to copy, and distribute music from 2uo7rax without a given consent. 2uo7rax is well aware of this and would appreciate and restrict any use of copyright infringement. There is no set date on an album release, however, please subscribe and add 2uo7rax as a contact so you may be notified in the near future. Thank you for the support. RECORD INFORMATION: Producer: 2uo7rax If you are interested in orchestral scores, instrumentals, piano compositions, sound engineering and or sound production services, feel free to leave a message via YouTube or email. To request rates, terms, conditions, and to discuss business/freelancing opportunities, please contact us by email at 2uo7rax (at) Gmail [dot] com. *Only serious, business-related inquiries will be read and answered. Please replace the space and brackets with an @. This has been done to avoid spam. Copyright Â© 2015 2uo7rax. All Rights Reserved. Creative Directors: TraVisT (Travis Balitz) & KyoTicK (Kyle Balitz) Our YouTube Affiliate Links: http://www.youtube.com/2uo7rax http://www.youtube.com/2uo8eats http://www.youtube.com/TheArtworkAddicts http://www.youtube.com/TheAirbrushAddicts http://www.youtube.com/RabbitatHabbitat http://www.youtube.com/MaintaincServices http://www.youtube.com/REALGroupStation http://www.youtube.com/ManHoPark http://www.youtube.com/CheonHoPark http://www.youtube.com/TraVisTRecords http://www.youtube.com/KyoTicKRecords http://www.youtube.com/TheAZNjoKeRhaha Copyright Â© 2015 Revival Entertainment Association Legacy Group. All Rights Reserved.

Grassy Hills under the Starlight Sky v2 Piano seul

$3.99 3.78 € Piano seul PDF SheetMusicPlus

Guitar,Piano,Vocal,Voice - Level 2 - Digital Download

SKU: A0.1044425

By Lisa Waites. By Lisa Waites. Arranged by Lisa Waites. Folk,Holiday,Multicultural,Praise & Worship,Sacred,World. Score. 2 pages. Servant Song Music and Ministry #649158. Published by Servant Song Music and Ministry (A0.1044425).

I wrote this reconciliation hymn back in 2016, when elders from the Blood Tribe, Metis, Piikani, and Siksika nations of Southern Alberta led the Reconciliation Week events at Medicine Hat College, in Medicine Hat, Alberta. They invited me to write and teach this hymn as part of the sessions at MHC, where I was (then) the ecumenical Chaplain. It has been an honour to participate in this annual tradition of indigenous leaders sharing their distinctive cultural practices, traditions, and values with the public in Medicine Hat (and the surrounding communities) for a decade, now. During the session I was asked to assist with, the Elders were sharing the Seven Grandfathers' Teachings, and so I included these core values into the lyrics of the hymn. The work in Medicine Hat started with expressions of lament and support from a group of local churches and the Medicine Hat College Chaplaincy program while the Truth and Reconciliation Commission was crossing the country. We quickly realized that many non-indigenous Canadians genuinely wanted to learn more about their First Nations, Metis, and Inuit neighbours. Seeing an urgent need for greater awareness about the intergenerational damage that was done by the Indian Residential School system here in Canada, and also identifying these Reconciliation events as a way to decrease racist stereotypes and assumptions about indigenous peoples, we decided to continue offering an annual reconciliation session, which grew, year by year. A decade later, I'm delighted to have seen deeper, healthier relationships being built between indigenous and non-indigenous people. Musically, this hymn loosely imitates the style of the French Canadian Voyageurs, the folk melodies of the 18th and 19th centuries. The lyrics incorporate the Seven Grandfathers' Teachings. This core ethical framework has many different versions, but many First Nations communities have adopted these teachings in some form. (I've heard Elders say that Respect must come first, because it is the foundation that we build on, but for this particular group at Medicine Hat College, Humility was first on the list). I have Metis ancestry myself, and as an adult, I have researched the long-hidden genealogical and cultural treasures of my family tree. Whether you are an indigenous person looking to support other indigenous Christian composers, or whether you are a non-indigenous person who is trying to broaden the repertoire of your congregation, We Must Learn to Walk Together is an upbeat, hope-filled hymn that sings about reconciliation as if it is not only possible in the distant future - but also achievable today, using the concrete steps suggested by the lyrics. The indigenous wisdom of the Seven Grandfathers' Teachings lines up beautifully with the teachings of Christ. Musically, this hymn is highly accessible for congregational singing; the range is moderate and the rhythms provide musical interest without becoming overly complex; to hear the guitar version and melody line of the hymn being played and sung by the composer, please go to the following YouTube link: https://youtu.be/3DpkFCLxgEs. The musical format of the hymn alternates between the chorus and three verses. The piece takes roughly 3:30 to perform. This hymn has been transcribed in the key of C Major, so it is as easy as possible for church accompanists to play and for congregations to sing; guitarists are invited to play in the key of A Major and simply capo 3. Guitar chords are included. I hope and pray that this hymn for reconciliation will help you, your congregation, and the wider community to think about, pray for, and enact the calls to action of the Canadian Truth and Reconciliation Commission in new and deeper ways this year.

We Must Learn to Walk Together Piano, Voix et Guitare
Lisa Waites
$3.99 3.78 € Piano, Voix et Guitare PDF SheetMusicPlus

B-Flat Trumpet,Baritone Horn TC/Euphonium,Choir,Trombone - Level 3 - Digital Download

SKU: A0.1156067

Composed by Samuel Coleridge-Taylor. Arranged by Richard Decker. 20th Century,Christmas,Contest,Easter,Festival,Praise & Worship. 42 pages. Charles Decker Music Press #756379. Published by Charles Decker Music Press (A0.1156067).

Samuel Coleridge-Taylor was an early 20th century English composer and conductor who was an influential advocate for Black composers. His numerous choir anthems offer dramatic performance opportunities for church or the concert hall.Â His festival anthem SATB choral anthem Lift Up Your Heads is an expressive and dramatic work enhanced with brass quartet accompaniment of two B-flat trumpets and two trombones with alternate F horn and treble clef euphonium parts provided for the trombone parts. The organ/piano part can be used for chorus preparation as well as additional support for performances if desired.Â However, not using the keyboard part in its entirety for a performance in addition to the brass group will create a more interesting interplay of different timbres. Conductors should ensure accompaniment parts don't overwhelm the chorus especially if the keyboard part is added with the brass. The recording is of the entire edition.

Use this link to see all the Charles Decker Music Press Christmas holiday music for mixed brass and homogeneous groups.

â€œThe Music of Black Composers Series is a welcome and timely addition to the brass repertoire. Interesting music, expertly arranged, fun to perform, and well received by audiences. Highly recommended!â€ Wesley Nance, Rochester Philharmonic Orchestra, Eastman School of Music

â€œI was so pleased to see the great works arranged for brass ensemble by Charles Decker Music Press especially the Music of Black Composersâ€™ Series. It was especially rewarding to perform several of these with Summit Brass and with the students attending the Rafael Mendez Brass institute. Please keep these wonderful settings coming. You have provided the brass world with some real gems.â€ Â Joseph Parisi, Director Summit Brass, Fountain City Brass Band, University of Missouri Kansas City Conservatory Wind Ensemble

The Interlochen Arts Academy and the University of Denver have purchased the Music of Black Composer Series with Charles Decker Music Press and the summer Rafael Mendez Brass Institute and Eastman School of Music uses the series arrangements in their chamber and brass ensembles music programs.Â

See 50+ homogeneous brass editions for trumpet, horn and trombone ensembles and 75+ mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. To see our Music of Black Composers Series enter â€œBlack Composers Seriesâ€ in the search box at Charles Decker Music Press forÂ 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others.Â

Use this link to Cherry Classics Music to see Richard Decker arrangements of Cherubiniâ€™s Sonata in F for Solo Horn and Wind Ensemble and Coleridge-Taylorâ€™s Sea Drift for Trombone Octet.

Anthem: Lift Up Your Heads for Mixed Chorus and Brass Quartet
$19.99 18.93 € PDF SheetMusicPlus

Concert Band - Digital Download

SKU: A0.917412

Composed by Gregory Fritze. 20th Century,Contemporary,Folk. Score and parts. 370 pages. Musica Nova USA #6321277. Published by Musica Nova USA (A0.917412).

The Four Seasons in the Basque Country is a 4 movement symphony for concert band. It is the Third Prize Winner of the 2020 American Prize in Composition - Concert Band. Grade 5, duration 27 minutes. The piece depicts four different places in the Basque country that the composer feels best show the changes of season. The first movement is Winter in the Costa Norte (Galerna). Galerna is on the northerncoast and is subject to harsh storms in the winter. As the piece starts off with a light-hearted dance in thepiccolo, a storm is approaching from afar. At first the storm seems to be in the distance but as it comes closer it overtakes the festivities in a bluster. For a short time two conductors are needed as the concertband is split into two groups â€“ one showing the light-hearted dance led by the piccolo, the other thecacophony of the storm led by the percussion. The storm overtakes everything as it ends the movement with a flourish.

The second movement Spring in Rioja Alavesa is a calming contrast to the first movement like the freshness of a spring day. The sun rises and shines beams of light onto the acres of grape vines. After a timea short rain comes to refresh and clean the plants.

The third movement Autumn at the Guggenheim Museum is in a traditional 3rd movement form of a symphony, minuet and trio, but the harmonies sometimes use bitonality, having the melody in one key while the accompaniment is in another to suggest surrealism. The Guggenheim Museum in Bilbaois one of the worldâ€™s most famous museums, not only for the surreal art inside, but also because of the architecture of the building itself.

The fourth movement Summer in Bilbao is based on a dance melody composed in the Ezpata- dantza Basque style. It employs a rhythmic element with alternating 6/8 and 3â„4 meters where the eighth notes are basically equal, but in the dance the 3â„4 meter is actually a little bit longer. This type of subtlemanipulation of rhythm is used similarly in the Viennese Waltz, when the 3rd beat would be stretched outto accommodate the dancers. The Ezpata-dantza dance continues until the Altza Gastiak, the officialsong of the Bilbao Athletic Club, the local soccer team of Bilbao, is heard. After this the Ezpata-dantzamelody is transformed from a happy dance to a triumphant melody and rousing finale.

In The Four Seasons in the Basque Country all of the themes are original except for the short excerpt ofAltza Gastiakin the 4th movement. Some themes are composed in the style of Basque folk dances.

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 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. 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.

He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanishcomposers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.

His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Recordsand 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

The Four Seasons in the Basque Country Orchestre d'harmonie

$100.00 94.68 € Orchestre d'harmonie PDF SheetMusicPlus

2-part choir Mixed - Digital Download

SKU: LX.45-1130L

Easy-to-prepare Anthems for Two-part Mixed Choirs. Edited by Larry Pugh. Choral Collection. 76 pages. Lorenz Publishing - Digital Sheet Music #e45/1130L. Published by Lorenz Publishing - Digital Sheet Music (LX.45-1130L).

Post-holiday doldrums, summer vacations, inclement weather, or simply a smaller talent pool from which to build a choir-whatever the reason might be, the reality is that your small group of singers are an integral part of the worship experience for your church and appropriate music must be found. This invaluable and economically-priced collection of 10 anthems and a benediction can make that daunting task a joy. The well-known and talented composers and text writers included ensure that each anthem is worth singing and hearing, both musically and theologically, and utilizing a variety of styles. So if your choir is small in number this Sunday or even every Sunday, this outstanding collection is for you-and your church-and is a worthy addition to the highly successful series of collections created expressly so that even the smallest choirs can celebrate The Everlasting Holy God! with verve and conviction!

10 1/2 Anthems for about 10 Singers Chorale 2 parties

$10.95 10.37 € Chorale 2 parties PDF SheetMusicPlus

Jazz Combo - Level 4 - Digital Download

SKU: A0.1201511

By Christopher Burnett. By Christopher Burnett. Arranged by Christopher Burnett. Contemporary,Film/TV,Jazz. Score and parts. 29 pages. Christopher Burnett #800132. Published by Christopher Burnett (A0.1201511).

ORIGINAL MUSIC FOR JAZZ QUARTETÂ

This work is from series of 6 related pieces of new music that I have composed and arranged for a new Originals quartet that had its debut on Tuesday March 28 as the final concert of the 2023 season of the long running noontime spring jazz series at the Midwest Trust Center in the Kansas City metropolitan area.Â

The music is written and arranged for a modern jazz quartet. I perform on alto saxophone with the multi-talented William Crain on piano, the master bassist Gerald Spaits, and the brilliant young drummer Morgan Rogers. The mockup audio demos posted are among the first set of compositions written for our group. I actually wrote and arranged all of this music with each of these quartet musiciansâ€™ artistry in mind and to record an album. However, I truly welcome other ensembles to perform and program these selections of music too.

THIS MUSIC IS BASED UPON THE PHILOSOPHY OF ABUNDANCE (COVEY)

Scarcity Mentality is the zero-sum paradigm of life. People with a Scarcity Mentality have a very difficult time sharing recognition and credit, power or profit â€“ even with those who help in the production. They also have a very hard time being genuinely happy for the successes of other people â€“ even, and sometimes especially, members of their own family or close friends and associates.Â

Conversely, Abundance Mentality flows out of a deep inner sense of personal worth and security. It is the paradigm that there is plenty out there and enough to spare for everybody. It results in sharing of prestige, of recognition, of profits, of decision making. It opens possibilities, options, alternatives, and creativity.

THE MUSICAL SELECTIONS (F-A-M-I-L-Y)

All of these six pieces interact musically as one larger work or they can be performed independently from the collection with equally pleasing effects musically.

1. â€œFINALLYâ€ (Is Never Permanentâ€¦)Â
Composed and Arranged By Christopher Burnett (BMI)

2. â€œALWAYSâ€ (Is Never Giving Upâ€¦)
Composed and Arranged By Christopher Burnett (BMI)

3. â€œMAYBEâ€ (It Is or Is Notâ€¦)
Composed and Arranged By Christopher Burnett (BMI)

4. â€œINFINITYâ€ (Is The Realityâ€¦)
Composed and Arranged By Christopher Burnett (BMI)

5. â€œLATERâ€ (Is Better Than Neverâ€¦)
Composed and Arranged By Christopher Burnett (BMI)

6. â€œYESTERYEARSâ€ (Bring Our Todaysâ€¦)
Composed and Arranged By Christopher Burnett (BMI)

Thanks,

Christopher Burnett (BMI)
musician, composer, educator
https://BurnettPublishing.com.

INFINITY (Is The Reality) Jazz combo
Christopher Burnett
$25.00 23.67 € Jazz combo PDF SheetMusicPlus

Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 3 - Digital Download

SKU: A0.1487431

Composed by Hans Zimmer, Lorne Balfe, and Rupert Gregson-Williams. Arranged by Rob Bushnell. 21st Century,Film/TV,Historic. Brass Band. 53 pages. Rob Bushnell #1064378. Published by Rob Bushnell (A0.1487431).

The Crown is a Netflix Original Series, released between 2016 and 2023, that follows the reign of Queen Elizabeth II from 1947 to 2005.The six seasons cover historic events such as the abdication of Edward VIII, Queen Elizabeth’s coronation, the Suez Crisis, the Aberfan disaster, the Queen’s Silver Jubilee, the marriage of Lady Diana Spencer and Charles (Prince of Wales), Michael Fagan breaking into Buckingham Palace, the Annus Horribilis, the divorce of the Waleses, the death of Princess Diana, and stories concerning Prince William, Prince Harry and Kate Middleton.

The series has been nominated for 457 awards, winning 132 of them, including 21 Primetime Emmy Awards, and 8 Golden Globe Awards.

This arrangement is for the UK-style brass band, with alternative parts for horns in F and bass-clef lower brass.

Other searchable terms: Elizabeth the Second, by the Grace of God, of the United Kingdom of Great Britain and Northern Ireland and of her other realms and territories Queen, Head of the Commonwealth, Defender of the Faith, Lillibet, Sir Winston Churchill, Anthony Eden, Harold Macmillan, Margaret Thatcher, Mohamed Al-Fayed, Dodi Al-Fayed, Tony Blair, Clair Foy, Matt Smith, Philip, Duke of Edinburgh, Vanessa Kirby, Princess Margaret, Eileen Atkins, Queen Mary, Jeremy Northam, King George VI, Ben Miles, Group Captain Peter Townsend, Greg Wise, Lord Mountbatten, Jared Harris, King George VI, John Lithgow, Alex Jennings, Prince Edward, Duke of Windsor, Wallis Simpson, Lia Williams, Anton Lesser, Pip Torrens, Tommy Lascelles, Olivia Colman, Tobias Menzies, Helena Bonham Carter, Ben Daniels, Jason Watkins, Harold Wilson, Marion Bailey, Erin Doherty, Charles Dance, Josh O'Connor, Clancy Brown, Lyndon B. Johnson, Mark Lewis Jones, Edward Millward, Derek Jacobi, Edward Heath, Camilla Shand, Gillian Anderson, Emma Corrin, Stephen Boxer, Denis Thatcher, Emerald Fennell, Camilla Parker Bowles, Charles Dance, Tom Brooke, Tom Burke, Richard Roxburgh, Bob Hawke, Kevin McNally, Guy Siner, Imelda Staunton, Jonathan Pryce, Lesley Manville, Dominic West, Jonny Lee Miller, John Major, Olivia Williams, Claudia Harrison, Natascha McElhone, Penny Knatchbull, Lady Romsey, Marcia Warren, Elizabeth Debicki, Salim Daw, Khalid Abdalla, Timothy Dalton, Prasanna Puwanarajah, Martin Bashir, An Interview with HRH The Princess of Wales, Tsar Nicholas II of Russia, Anatoliy Kotenyov, Boris Yeltsin, Bertie Carvel, Ed McVey, Prince William of Wales, Luther Ford, Prince Harry of Wales, Meg Bellamy.

The Crown Main Theme
$44.99 42.6 € PDF SheetMusicPlus

Piano and orchestra - difficult - Digital Download 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

Concerto Piano et Orchestre

$23.99 22.71 € Piano et Orchestre PDF SheetMusicPlus

Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Download

SKU: A0.534375

Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3396161. Published by Musik Fabrik Music Publishing (A0.534375).

To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.

Whitmanâ€™s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poeâ€™s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poetâ€™s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.

As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..

To You

Whoever you are, I fear you are walking the walks of dreams,
I fear these supposed realities are to melt from under your feet and hands,
Even now your features, joys, speech, house, trade, manners,
troubles, follies, costume, crimes, dissipate away from you,
Your true soul and body appear before me.
They stand forth out of affairs, out of commerce, shops, work,
farms, clothes, the house, buying, selling, eating, drinking,
suffering, dying.
Whoever you are, now I place my hand upon you, that you be my poem,
I whisper with my lips close to your ear.
I have loved many women and men, but I love none better than you.
O I have been dilatory and dumb,
I should have made my way straight to you long ago,
I should have blabb'd nothing but you, I should have chanted nothing
but you.
I will leave all and come and make the hymns of you,
None has understood you, but I understand you,
None has done justice to you, you have not done justice to yourself,
None but has found you imperfect, I only find no imperfection in you,
None but would subordinate you, I only am he who will never consent
to subordinate you,
I only am he who places over you no master, owner, better, God,
beyond what waits intrinsically in yourself.
Painters have painted their swarming groups and the centre-figure of all,
From the head of the centre-figure spreading a nimbus of gold-color'd light,
But I paint myriads of heads, but paint no head without its nimbus
of gold-color'd light,
From my hand from the brain of every man and woman it streams,
effulgently flowing forever.
O I could sing such grandeurs and glories about you!
You have not known what you are, you have slumber'd upon yourself
all your life,
Your eyelids have been the same as closed most of the time,
What you have done returns already in mockeries,
(Your thrift, knowledge, prayers, if they do not return in
mockeries, what is their return?)
The mockeries are not you,
Underneath them and within them I see you lurk,
I pursue you where none else has pursued you,
Silence, the desk, the flippant expression, the night, the
accustom'd routine, if these conceal you from others or from
yourself, they do not conceal you from me,
The shaved face, the unsteady eye, the impure complexion, if these
balk others they do not balk me,
The pert apparel, the deform'd attitude, drunkenness, greed,
premature death, all these I part aside.
There is no endowment in man or woman that is not tallied in you,
There is no virtue,.

Paul Wehage: To You for baritone, tenor saxophone and piano
$29.95 28.36 € PDF SheetMusicPlus

C Instrument - Digital Download

SKU: A0.1276434

By Georges Bizet. By Georges Bizet. Arranged by Darek. 19th Century,Classical,Romantic Period. Lead Sheet / Fake Book. 1 pages. Darek #868171. Published by Darek (A0.1276434).

Step into the realm of musical elegance with meticulously crafted lead sheets for a variety of instruments including Piano, Keyboard, Guitar, Flute, Violin, Saxophone, Glockenspiel, and more, featuring the iconic Toreador Song / March of the Toreadors from Georges Bizet's timeless opera Carmen. Immerse yourself in the grandeur of this beloved composition, now available in a versatile format that caters to a range of musicians.

Journey back to the opulent 19th century and experience the allure of this masterpiece, thoughtfully arranged to encompass the essence of the era. These lead sheets offer a harmonious blend of melody and chords, allowing both seasoned players and beginners to explore their musical creativity.

Whether you're a pianist, a guitarist, a flutist, or any other instrumentalist, these lead sheets provide a customizable canvas for your interpretation. Each instrument's unique voice harmonizes with the others, creating a harmonious ensemble that captures the depth and spirit of the original composition.

Discover the joy of musical collaboration as you and your fellow musicians unite to bring this masterpiece to life. Whether in a solo performance or a group setting, the magic of the Carmen opera is palpable, transcending time and resonating with audiences of all backgrounds.

Keywords: Toreador Song, March of the Toreadors, Carmen opera, Georges Bizet, lead sheets, piano, keyboard, guitar, flute, violin, saxophone, glockenspiel, melody, chords, musical collaboration, ensemble, timeless composition, era, musical creativity, versatile format.

Toreador Song / March of the Toreadors (LEAD SHEET) Opera "Carmen" [Georges Bizet] Instruments en Do
Georges Bizet
$2.00 1.89 € Instruments en Do PDF SheetMusicPlus

String Quartet - Intermediate - Digital Download By Panic! At the Disco. Arranged by Sarah Cellobat Chaffee. Score, Set of Parts. 21 pages. Published by Sarah Chaffee

High Hopes - String Quartet - Panic! At The Disco arr. Cellobat -- Recording Available! Quatuor à cordes: 2 violons, alto, violoncelle
Panic! At the Disco Arranged by Sarah Cellobat Chaffee
$16.99 16.09 € Quatuor à cordes: 2 violons, alto, violoncelle PDF SheetMusicPlus

Voice Duet Voice - Level 4 - Digital Download

SKU: A0.893704

Composed by K.J. Murdock, based on F. Chopin. Contemporary,Instructional,Musical/Show,Romantic Period,Standards. 11 pages. Kristopher James Murdock #3097989. Published by Kristopher James Murdock (A0.893704).

Music teachers -- piano, vocal, or music theatre! Are you wondering how to pique the interest of your students (and their recital audiences) in the heightened and ever shifting musical emotionalism of the Romantic style, while staying relevant to today by using a timeless story that arrests their attention? Do you need an expressive recital piece that will demonstrate your students' abilities in a wide range of expression? The solution to both of these problems is this dramatic piano-vocal arrangement of Behind The Maestro's Mask, from Revelation & Restoration's musical The Maestro's Mask: The Untold Story of the Opera Ghost.
The song allows intermediate singers to moderately challenge their vocal emotional expression, and you may wish to accompany them yourself on the piano, yet it's also useful as an instrumental solo piece for a piano student. With music based on the A-C sections of Chopin's Polonaise, Op. 26, No. 1 in C# minor and Db major, but transposed and adapted in the easier keys of G minor and G major, this piece will act as a step up for your moderately advanced piano student, preparing for Chopin's work. (There are significant differences between this song and Chopin's Polonaise, particularly on pages 1 and 8-11.)
Disclaimer: This piece quotes from FrÃ©dÃ©ric Chopin's public domain work, Polonaise, Op. 26, No. 1 and is part of Revelation & Restoration's musical The Maestro's Mask: The Untold Story of the Opera Ghost, which is based on a sequel to Gaston LeRoux's public domain novel Le FantÃ´me de l'OpÃ©ra. The musical is not a sequel to Andrew Lloyd Webber's musical version of The Phantom of the Opera. Revelation & Restoration is not affiliated with Andrew Lloyd Webber or The Really Useful Group.

Behind the Maestro's Mask (from the musical "The Maestro's Mask: The Untold Story of the Opera Ghost Voix duo

$2.25 2.13 € Voix duo PDF SheetMusicPlus

Large Ensemble - Level 3 - Digital Download

SKU: A0.569829

Composed by Austin Ralphson. Instructional. Score and parts. 52 pages. Austin Ralphson #4600767. Published by Austin Ralphson (A0.569829).

Melody: Conjunct and Disjunct - Perform, Compose, Understand Series. This pack comprises a piece called Mind The Gap, worksheets and questions which relate to the piece. It is all about understanding melodic movement and direction.

Welcome to the PCU Series for classroom-based groups. This series focuses on learning by doing; there are many accomplished performers within our school classrooms throughout the world, but my years of experience has taught me that many of these students learn to play by rote â€“ literally be learning one note followed by another â€“ without gaining full understanding of how the pieces work musically and theoretically. Indeed, some of them can perform to a high standard using this method, but then really struggle with composition and general musical understanding later in their educational careers.

I equate this to learning to speak sentences in a foreign language without fully understanding what those sentences actually mean.

So who is this book for?

It is for music teachers to use with their students who are learning to create exam-level compositions within a school environment. It is ideal for courses such as the American High School Diploma, GCSE, IGCSE, SCS, HKCEE, IB(MYP), SPM, GCEO, CCEF, HKCEE, VSSD, GES or ICSE.

It is designed to cater for almost any instrument due to the parts being provided in many different keys and clefs (including tab and bass tab). Drum parts are intentionally not provided as drummers still need to have a good understanding of non-percussive elements such as melody and harmony; I would suggest that they play a keyboard part for the purposes of learning about composition.

You can also download backing tracks of all pieces in this series by searching:

Classroom Performance educational pack: MELODY backing tracks

These contain parts 2-5, allowing part 1 to be played live over the top.

How to use this resource

This pack comprises three stages, the third of which should be gained from success with the first two:

1. Performing

An original performance piece is provided for mixed classroom ensemble. This piece features a musical device of some kind as its focus. There will obviously be other musical components included within the piece as well, but the main element will be very apparent.

2. Composing

Worksheets are provided to enable students to develop their own compositions based on the same focus as the performance piece. Elements of the performance piece are highlighted and short, developmental activities will lead to the students developing their own musical ideas.

3. Understanding

Summary worksheets are provided to enable students to demonstrate their understanding of the topic.

There are two musical elements which appear in all pieces within this PCU series. They are dynamics and articulation. All performance pieces contain them and opportunity is provided to include them within the composing exercises as well.

Printing and Copying

The purchaser may print or copy all pages of this resource as required, but must not distribute to others. It is advised to produce resources for students as follows:

* Print which ever parts are needed to facilitate a performance

* Produce a booklet containing the title page, score and worksheets.

The performance piece could also be used for the performing component of your examined course as well if appropriate.

** Also look out for the other packs in the PCU Series which cover melody, rhythm, structure, texture and harmony. Multi-pack deals are also available. **

Melody: Conjunct and Disjunct educational pack - Perform Compose Understand PCU Series
$5.99 5.67 € PDF SheetMusicPlus