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Piano,Vocal,Voice - Level 3 - Digital Download

SKU: A0.1217368

Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Classical,Jazz,Romantic Period,Standards,Wedding. Score. 7 pages. Phil Beaman #813912. Published by Phil Beaman (A0.1217368).

I Love You Truly is based on the 1906 hit pop song by Carrie Jacobs-Bond; a song which was the #1 wedding song for over 50 years.  I have created an arrangement with 4 variations with each variation getting further from the original theme and each progressing further into jazz.  Variation I - I utilize rich chords of the ballads of that period while keeping the sung melody close to the original.  Variation II - I rhythmically augment the melody, simplify the texture, and add chromatic passing tones and progressions.  Variation III - I set this in stride jazz with syncopated riffing in the melody.  Variation IV - I make this one a slower, bolder jazz with various triplet patterns on fragments of melody and a strong jazz chord progression based on fifths.  This is a gentle jazzy update to the most popular wedding song of all time; perfect for any wedding today, whether vintage or modern.  
7 page score;  3:00 minutes
I have published it in 3 different vocal ranges on this site:  High - middle C to high G; Medium - low A to high E; Low - low G to high D.   The MP3 recording is of the Medium Voice version.  Vocal part is Intermediate level, while Piano part is Advanced Intermediate level.  
This piece is also found in my book, Vintage Wedding Songs, a collection of 5 songs which is also available on this site.

I Love You Truly - low voice/piano
Piano, Voix

$6.25 5.8 € Piano, Voix PDF SheetMusicPlus

Piano,Vocal,Voice - Level 3 - Digital Download

SKU: A0.1217366

Composed by Carrie Jacobs-Bond. Arranged by Phil Beaman. Classical,Jazz,Romantic Period,Standards,Wedding. Score. 7 pages. Phil Beaman #813910. Published by Phil Beaman (A0.1217366).

I Love You Truly is based on the 1906 hit pop song by Carrie Jacobs-Bond; a song which was the #1 wedding song for over 50 years.  I have created an arrangement with 4 variations with each variation getting further from the original theme and each progressing further into jazz.  Variation I - I utilize rich chords of the ballads of that period while keeping the sung melody close to the original.  Variation II - I rhythmically augment the melody, simplify the texture, and add chromatic passing tones and progressions.  Variation III - I set this in stride jazz with syncopated riffing in the melody.  Variation IV - I make this one a slower, bolder jazz with various triplet patterns on fragments of melody and a strong jazz chord progression based on fifths.  This is a gentle jazzy update to the most popular wedding song of all time; perfect for any wedding today, whether vintage or modern.  
7 page score;  3:00 minutes
I have published it in 3 different vocal ranges on this site:  High - middle C to high G; Medium - low A to high E; Low - low G to high D.   The MP3 recording is of the Medium Voice version.  Vocal part is Intermediate level, while Piano part is Advanced Intermediate level.  
This piece is also found in my book, Vintage Wedding Songs, a collection of 5 songs which is also available on this site.

I Love You Truly - medium voice/piano
Piano, Voix

$6.25 5.8 € Piano, Voix PDF SheetMusicPlus

Piano,Vocal,Voice - Level 5 - Digital Download

SKU: A0.1315461

Composed by Francis Poulenc and Guillaume Apollinaire. Arranged by Nicole Elyse DiPaolo. 20th Century,Classical. Score. 11 pages. Nicole Elyse DiPaolo #904195. Published by Nicole Elyse DiPaolo (A0.1315461).

The first of its kind, this is a genuinely playable piano/vocal reduction of Non Monsieur mon mari from Poulenc and Apollinaire's Les mamelles de Tiresias. Sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic, poorly notated, and technically demanding vocal score devoid of needed key signatures. Pianists may now enjoy playing this aria comfortably, without risking strain/injury by trying to play reams of excessive 16ths spread out in ways designed for Poulenc's obviously large hands. A few enharmonic respellings in this edition will also provide greater musical understanding for both singers and pianists.

This collectionâ??s reductions boast several unique features:

1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or â??fudgedâ? with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what Iâ??ve provided.
2. Iâ??ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a â??sink or swimâ? accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.
3. In addition to the composerâ??s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.
4. All page turns have been carefully selected, when possible, so as to result in the least possible disruption to the pianist. When an inevitable page turn precedes a potentially surprising note or chord, Iâ??ve included the next downbeatâ??s notes in cue-size stemless noteheads at the end of the preceding measure.
5. I have preserved beams in 8th and smaller note values within the vocal parts so that pianists, some of whom might not be accustomed to syllabic beaming conventions, will find it easier to follow the singerâ??s rhythms while reading potentially unfamiliar arias.
6. When known, Iâ??ve noted alternate cuts that singers might like to take within certain arias.
7. In some cases Iâ??ve modernized spelling conventions for easier readability (for example, by replacing â??Ã?â? with â??ssâ? in German arias) and enharmonically respelled brief passages or added key signatures for greater clarity.

Quatre Poemes De Guillaume Apollinaire
Piano, Voix

$8.95 8.31 € Piano, Voix PDF SheetMusicPlus

Piano,Vocal,Voice - Level 3 - Digital Download

SKU: A0.1025435

Composed by Samuel Warren Hatch. 20th Century,Contemporary,Jazz. Score. 9 pages. Samuel Warren Hatch #4764165. Published by Samuel Warren Hatch (A0.1025435).

Piano Sonata No. 1 in E Major is the first series of concert piano works by S. Warren Hatch, written during his undergraduate study at Campbell University. Each movement is distinct, in that each of them is composed in a different form, utilizes different key changes and scales, and takes influence from a different period in classical music. While there is no theme that connects them to one another, they are all in the key of E Major and consist mostly of a waltz-like feeling.

III. A Reflection of Passing depicts the shifting aspects about death as a person matures. It’s a piece that came from a time of great loss and much grieving. It begins with an innocent, hopeful understanding of death, followed by a major tone shift, where there is an odd utilization of the piano: the performer sings into the piano while holding down the sustain pedal, which vibrates certain overtones, producing what sounds like a distant choir. The piece closes with a triumphant, hopeful melody, borrowed from a song written by S. Warren Hatch when he was in high school.


  • Composer Notes- Be sure to ensure that the stage hands lift the piano lid before the sonata’s start, as the strings will need to be exposed in order for you to sing into the piano’s body during A Reflection of Passing. For that section (page 22) you will need to face and sing directly into the strings while holding down the sustain pedal for the entire page. If you are playing with the sheet music (don’t worry, I’m not shaming you) simply slide the music holder in order to expose the part of the strings that are closest to you. For this sonata, I encourage you to find your own voice in these pieces. Your own interpretation should align with how you most relate to the message/story they’re telling. This could be using the una corda (leftmost) pedal during lighter sections to further differentiate them, or having a heavier rubato to strengthen the impact of certain phrases. As long as you bring these pieces to life, then it has my stamp of approval.


Piano Sonata No. 1 Movement 3 "Reflection of Passing"
Piano, Voix

$3.99 3.7 € Piano, Voix PDF SheetMusicPlus

Piano,Vocal,Voice - Level 5 - Digital Download

SKU: A0.902510

By Stevie Wonder. By Stevie Wonder. Arranged by Steve Burks. Pop,Soul. Score. 7 pages. Steven L. Burks #6249377. Published by Steven L. Burks (A0.902510).

This inspirational R&B piece is appropriate for tenors who are comfortable with periodic chest voice above F4, or who are able to mix registers effectively when producing the pitches F#4 and G#4. Its melodic range is from E3 to G#4. You Will Know is a good programming choice when themes of inspiration, encouragement, and spirituality are fitting. Its duration is approximately 3:20, a slight abbreviation of the original recording as ad libs have been omitted.

The lyrical content is appropriate for non-adult singers; though post-pubescent singers are more likely to have success performing it due to periodic work above the break. Pedagogically, this piece affords singers an opportunity to work on breath support (due to its periodic long tones), vibrato, and grace notes (which by African American performance practice, occur frequently enough that notating them would have been impractical). In general, ornamentation is a central feature of African American singing, and the best way to absorb this style is to listen to great examples.

I am a member of ASCAP. You may email me at steveburks@outlook.com. Thanks for listening.

You Will Know
Piano, Voix
Stevie Wonder
$4.99 4.63 € Piano, Voix PDF SheetMusicPlus






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