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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.

The Story Of Reuben Clamzo & His Strange Daughter
Chorale TTBB
Arlo Guthrie
$3.99 3.8 € Chorale TTBB PDF SheetMusicPlus

Small Ensemble Clarinet,Oboe,Piano - Level 5 - Digital Download

SKU: A0.755293

Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 101 pages. Sy Brandon #5770547. Published by Sy Brandon (A0.755293).

This composition was composed for Trio De Bois (Oboe, Clarinet, Bassoon) and Piano. There are three movements that are inspired by Craters of the Moon National Monument and Preserve. It is especially appropriate during this 50th anniversary of the moon walk as the astronauts trained at this location. The first movement is called Violent Past. Much of this movement is built around the dissonant intervals of a half step and the tritone.These intervals are used both melodically and harmonically. The second movement is called Lunar Landscape and is more evocative rather than descriptive. It creates a feeling of vastness and openness.This movement is a tribute to the 50th anniversary of landing on the moon that is being celebrated at the same time that this movement was created. The Apollo 14 astronauts trained at Craters of the Moon in 1969 in order to learn more about volcanic geology. The movement is built around a walking passacaglia theme that is mainly in the left hand of the piano. After its initial statement, the passacaglia theme is accompanied by open 4ths and 5ths in the piano that later appear in the oboe and clarinet, and then in imitation between the piano and high winds. A more melodic variant of the passacaglia theme occurs in the bassoon over the original in the piano. All this material is developed before the opening material returns in the original key and tempo before eventually fading into the distance. Forces of Nature is the title of the third movement. There are five natural phenomena in the park that are represented musically, The Great Rift, Lava Flow, Vents, Cinder Cones, and Lava Tubes. Each of these have a motif that is descriptive and the motifs transform and combine as the movement progresses.

Craters of the Moon for Oboe, Clarinet, Bassoon, and Piano
Hautbois, Piano (duo)

$14.99 14.29 € Hautbois, Piano (duo) PDF SheetMusicPlus

Choral Choir (SA) - Level 2 - Digital Download

SKU: A0.510156

Composed by Glyn Lehmann (music), Phil Cummings (lyrics). 20th Century,Latin,Pop. Octavo. 11 pages. Glyn Lehmann #3507405. Published by Glyn Lehmann (A0.510156).

The third song from the SPACE RACE song cycle, celebrating the 50th anniversary of the Apollo 11 moon landing, July 1969. The other songs are Gagarin (Beyond Blue Sky), Space Race (To Every Question) and Apollo 11 (Homecoming).

Captures the sense of wonder and excitement children felt as they watched Neil Armstrong walk on the moon in 1969. Gentle melodic verses and a lively, upbeat chorus. More information at songlibrary.net/Space-Race

https://youtu.be/BH97dn2_fSI

More SPACE RACE song-cycle songs on SheetMusicPlus

1. Gagarin https://www.sheetmusicplus.com/title/gagarin-beyond-blue-sky-digital-sheet-music/20728438?ac=1

2. Space Race https://www.sheetmusicplus.com/title/space-race-to-every-question-digital-sheet-music/20728434?ac=1

3. The Children of the World https://www.sheetmusicplus.com/title/the-children-of-the-world-july-1969-digital-sheet-music/2072843.......

4. Apollo 11 (Homecoming) https://www.sheetmusicplus.com/title/apollo-11-homecoming-digital-sheet-music/20728440?ac=1

The Children of the World (July 1969)
Words by Phil Cummings, music by Glyn Lehmann

For children in nineteen sixty nine
There were new games to play
To the children of that far off time
There was wonder in that July Day

A rocket flew with fire and flame
Across a wide open sky
On TV screens around the world
Children saw that rocket fly

Young hearts beat a rhythm
Great minds played their part
The children of the world held their breath
As Armstrong placed a print upon their hearts

At night the children gazed at the stars
Their faces lit by silver moonlight
And tried to imagine the the view
Of those on that Apollo flight

Kids flew in missions to save the world
Created games and stories and schemes
Their bikes flew like asteroids
Treehouses were rockets in dreams

The children of the world in streets everyday
Saw flickering screens in shop window displays
Photos without colour on newspaper spreads
Books about space strewn across beds

Lyrics © 2018 Phil Cummings


The Children of the World (July 1969) Chorale 2 parties

$2.50 2.38 € Chorale 2 parties PDF SheetMusicPlus

Choral Choir (SATB) - Level 3 - Digital Download

SKU: A0.510171

Composed by Glyn Lehmann (music), Phil Cummings (lyrics). 20th Century,Latin,Pop,World. Octavo. 16 pages. Glyn Lehmann #3542457. Published by Glyn Lehmann (A0.510171).

The third song from the SPACE RACE song cycle, celebrating the 50th anniversary of the Apollo 11 moon landing, July 1969. The other songs are Gagarin (Beyond Blue Sky), Space Race (To Every Question) and Apollo 11 (Homecoming).

Captures the sense of wonder and excitement children felt as they watched Neil Armstrong walk on the moon in 1969. Gentle melodic verses and a lively, upbeat chorus. More information at https://glynlehmann.com/Space-Race

https://youtu.be/BH97dn2_fSI

The Children of the World (July 1969)
Words by Phil Cummings, music by Glyn Lehmann

For children in nineteen sixty nine
There were new games to play
To the children of that far off time
There was wonder in that July Day

A rocket flew with fire and flame
Across a wide open sky
On TV screens around the world
Children saw that rocket fly

Young hearts beat a rhythm
Great minds played their part
The children of the world held their breath
As Armstrong placed a print upon their hearts

At night the children gazed at the stars
Their faces lit by silver moonlight
And tried to imagine the the view
Of those on that Apollo flight

Kids flew in missions to save the world
Created games and stories and schemes
Their bikes flew like asteroids
Treehouses were rockets in dreams

The children of the world in streets everyday
Saw flickering screens in shop window displays
Photos without colour on newspaper spreads
Books about space strewn across beds

Lyrics © 2018 Phil Cummings


The Children of the World (July 1969)
Chorale SATB

$2.50 2.38 € Chorale SATB PDF SheetMusicPlus

Mezzo-soprano voice and piano - Medium - Digital Download

SKU: MQ.8460-3E

Composed by Gwyneth W. Walker. Secular, 21st century. 3 pages. E. C. Schirmer Music Company - Digital #8460-3E. Published by E. C. Schirmer Music Company - Digital (MQ.8460-3E).

English.

The poetry of Emily Dickinson (1830-1886) is especially appealing due to the wide range of topics, diversity of mood and peculiar imagination of the poet. The writings are reflective, passionate, witty, sensuous, observant, and ridiculously humorous. Her heart soars. Her mind pokes fun! Emily was truly a New Englander. Her poems are understated and compact. Her love of Nature focuses on small things- birds, bees, meadows and a pond.

In creating the musical settings, the composer (herself a New Englander) endeavored to capture the spirit of the poetry, and of the poet, with songs diverse in style, and concise in form. Everything from romance to frogs is explored, briefly.

Great delight is taken in creating musical translations of the colorful imagery: the letters floating off on the breeze (My Letter to the World); the shimmering moonlight (The Moon and the Sea); a frog croaking in a bog (The Frog in the Bog); hopeful birds hopping about (Hope with Feathers); the boat of passion riding the waves and then settling into its mooring (Passion); the ship's cannon firing in celebration (Joy); and the tiniest, lightest gifts of Nature (All I Have to Bring).

These are the poet's Letters to the World. She lived as a recluse, yet her words took flight-traveling the universe as messengers of the soul. Duration: 14:00.

The Frog in the Bog from Emily! (Downloadable)
Voix Mezzo-Soprano, Piano

$5.00 4.77 € Voix Mezzo-Soprano, Piano PDF SheetMusicPlus

Piano Solo - Level 3 - Digital Download

SKU: A0.1344909

Composed by Billy Rose, E.Y. Yip Harburg, and Harold Arlen. Arranged by Phyllis Love. Jazz,Standards. Score. 3 pages. Phyllis Love #923432. Published by Phyllis Love (A0.1344909).

It's Only A Paper Moon for intermediate piano

Harold Arlen wrote this swing tune in 1932. Here is an upbeat arrangement where there's a rubato intro, which then proceeds to a very rhythmic, finger snapping beat, and actually sounds a lot harder than it is to play!

Accessible enough for any intermediate performer, yet incredibly rewarding for even the most accomplished pianist. Phyllis Love's instrumental arrangements for jazz piano remain true to the original melodies, with inventive harmonies and dynamic rhythmic patterns perfect for solo players! Each is a tasty addition to your show set, whether it's a classic show tune or a Standard from the Great American Songbook.

Check out these other Phyllis Love arrangements for students of jazz piano at the intermediate level:

The Breeze and I
The Last Time I Saw Paris
Yesterdays
You and the Night and the Music
We'll Be Together Again
A Nightingale Sang In Berkeley Square
Falling In Love With Love
For All We Know
I Thought About You
I'll Remember April
I'm Old Fashioned
It Might As Well Be Spring
Love Walked In
Mona Lisa
On the Atchison, Topeka and the Santa Fe
Once In A While
Summertime
Surrey With The Fringe On Top
Tenderly
That Old Black Magic

Phyllis Love is a professional jazz pianist in the New York City area who's appeared at storied venues including Windows on the World, Gramercy Park Hotel, and Mama Leone's. She's performed with the Bill Lombardo Orchestra, scored music for film (Brighty of the Grand Canyon co-composer), and written jingles for Harvey’s Bristol Crème, Estee Lauder, Seiko watches and many others.

It's Only A Paper Moon
Piano seul

$4.99 4.76 € Piano seul PDF SheetMusicPlus

Easy Piano - Level 2 - Digital Download

SKU: A0.909058

Composed by Henry Mancini and Walter Greene. Arranged by Christine Mulhall. Contemporary. Score. 2 pages. Christine Mulhall #6692539. Published by Christine Mulhall (A0.909058).

The Pink Panther was composed by Henry Mancini who wrote a string of successful film scores including Baby Elephant Walk and Moon River. The Pink Panther was used as the theme for the successful Pink Panther movies. The first film in the series featured an animated opening sequence which featured The Pink Panther character. This led to The Pink Panther series of cartoons. The Pink Panther then went on to appear at the beginning of most of The Pink Panther Movies. This is a great arrangement for solo piano and suits an easier level of piano than the original composition.

The Pink Panther
Piano Facile

$5.00 4.77 € Piano Facile PDF SheetMusicPlus

Piano,Tenor Trombone - Level 4 - Digital Download

SKU: A0.1335564

Composed by Alexander Burdiss. Contemporary. Score and part. 12 pages. Ars Nova Press #921400. Published by Ars Nova Press (A0.1335564).

Too Much For Our Thirst
by Alexander Burdiss
Arranged for Trombone and Piano
Dedicated to Courtney Carmack
Performance Time: approx. 7:00

This is an adaptation for trombone of a piece originally written for tuba.
 
The Eyes of the Poor from Paris Spleen
Written by Charles Baudelaire, Translated by Arthur Symons
 
Ah! you want to know why I hate you to-day. It will probably be less easy for you to understand than for me to explain it to you; for you are, I think, the most perfect example of feminine impenetrability that could possibly be found.
 
We had spent a long day together, and it had seemed to me short. We had promised one another that we would think the same thoughts and that our two souls should become one soul; a dream which is not original, after all, except that, dreamed by all men, it has been realised by none.
 
In the evening you were a little tired, and you sat down outside a new café at the corner of a new boulevard, still littered with plaster and already displaying proudly its unfinished splendours. The café glittered. The very gas put on all the fervency of a fresh start, and lighted up with its full force the blinding whiteness of the walls, the dazzling sheets of glass in the mirrors, the gilt of cornices and mouldings, the chubby-cheeked pages straining back from hounds in leash, the ladies laughing at the falcons on their wrists, the nymphs and goddesses carrying fruits and pies and game on their heads, the Hebes and Ganymedes holding out at arm's-length little jars of syrups or parti-coloured obelisks of ices; the whole of history and of mythology brought together to make a paradise for gluttons. Exactly opposite to us, in the roadway, stood a man of about forty years of age, with a weary face and a greyish beard, holding a little boy by one hand and carrying on the other arm a little fellow too weak to walk. He was taking the nurse-maid's place, and had brought his children out for a walk in the evening. All were in rags. The three faces were extraordinarily serious, and the six eyes stared fixedly at the new café with an equal admiration, differentiated in each according to age.
 
The father's eyes said: How beautiful it is! how beautiful it is! One would think that all the gold of the poor world had found its way to these walls. The boy's eyes said: How beautiful it is! how beautiful it is! But that is a house which only people who are not like us can enter. As for the little one's eyes, they were too fascinated to express anything but stupid and utter joy.
 
Song-writers say that pleasure ennobles the soul and softens the heart. The song was right that evening, so far as I was concerned. Not only was I touched by this family of eyes, but I felt rather ashamed of our glasses and decanters, so much too much for our thirst. I turned to look at you, dear love, that I might read my own thought in you; I gazed deep into your eyes, so beautiful and so strangely sweet, your green eyes that are the home of caprice and under the sovereignty of the Moon; and you said to me: Those people are insupportable to me with their staring saucer- eyes! Couldn't you tell the head waiter to send them away?
 
So hard is it to understand one another, dearest, and so incommunicable is thought, even between people who are in love!

Too Much For Our Thirst (Trombone and Piano)
Trombone et Piano

$9.99 9.52 € Trombone et Piano PDF SheetMusicPlus

Piano Solo - Level 3 - Digital Download

SKU: A0.1345042

Composed by George Gershwin and Ira Gershwin. Arranged by Phyllis Love. Film/TV,Instructional,Jazz,Standards. Score. 2 pages. Phyllis Love #929992. Published by Phyllis Love (A0.1345042).

Love Walked In for intermediate piano

This arrangement has a George Shearing-esque treatment which starts off as a ballad, but then goes into a swing rhythm when the second A section goes into a finger-snapping piano arrangement. Perfect for intermediate students and fans of the American Songbook.

Accessible enough for any intermediate performer, yet incredibly rewarding for even the most accomplished pianist. Phyllis Love's instrumental arrangements for jazz piano remain true to the original melodies, with inventive harmonies and dynamic rhythmic patterns perfect for solo players! Each is a tasty addition to your show set, whether it's a classic show tune or a Standard from the Great American Songbook.

Check out these other Phyllis Love arrangements for students of jazz piano:

The Breeze and I
The Last Time I Saw Paris
Yesterdays
You and the Night and the Music
We'll Be Together Again
A Nightingale Sang In Berkeley Square
Falling In Love With Love
For All We Know
I Thought About You
I'll Remember April
I'm Old Fashioned
It Might As Well Be Spring
It's Only A Paper Moon
Mona Lisa
On the Atchison, Topeka and the Santa Fe
Once In A While
Summertime
Surrey With The Fringe On Top
Tenderly
That Old Black Magic

Phyllis Love is a professional jazz pianist in the New York City area who's appeared at storied venues including Windows on the World, Gramercy Park Hotel, and Mama Leone's. She's performed with the Bill Lombardo Orchestra, scored music for film (Brighty of the Grand Canyon co-composer), and written jingles for Harvey’s Bristol Crème, Estee Lauder, Seiko watches and many others.

Love Walked In
Piano seul

$4.99 4.76 € Piano seul PDF SheetMusicPlus

Piano Solo - Level 5 - Digital Download

SKU: A0.835641

Composed by Howard Blake. Arranged by Renee H. McKee. 20th Century,Film/TV. Score. 5 pages. Renee H. McKee #4597253. Published by Renee H. McKee (A0.835641).

When the short children's film The Snowman was released in 1982 we were instantly captivated by the epic-sounding music that accompanied young James and his new snowy friend as they soared through the moonlit sky.  A YouTube link provided in case you are not familiar with it. For years I have longed to play this vocal/orchestral music on the piano, so I decided to try and capture the magic and scope of it for pianists to enjoy for themsleves or perform as a concert piece for audiences.  Some fingering and pedaling suggestions have been written in for your experiementation.  I have loved every minute of my time with this music!  I hope you will too.

Walking In The Air
Piano seul

$4.99 4.76 € Piano seul PDF SheetMusicPlus


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