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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 3.78 € Chorale TTBB PDF SheetMusicPlus

Choral Choir (SATB) - Level 4 - Digital Download

SKU: A0.1199426

Composed by Kevin G. Pace (ASCAP), Mark R. Fotheringham. Christian,Praise & Worship,Religious,Sacred,Spiritual. Octavo. 10 pages. Kevin G. Pace #798494. Published by Kevin G. Pace (A0.1199426).

Poignant, sacred choral music.  The text is in reference to the sacrifices of the pioneers of the Church of Jesus Christ of Latter-day Saints.  Music by Kevin G. Pace.  Text by Mark R. Fotheringham.  Dedicated to the Willie and Martin handcart companies.

Text: 
Into the wind, we suffer the more. 
To Zion we march, or to heaven's door. 
We stumble and fall; angels attend 
To help us rise up and march on again. 
No never alone, for God is our guide. 
We know inside.

Tattered and torn, our shoes all in shreds. 
In sage or in snow, we lay down our heads. 
We dig shallow graves, bury our dead, 
Then wake the next morn and onward we tred. 
Through trial and pain, we hold to the rod, 
And thus know God.

All that we have in one little cart, 
Together we push; we each do our part. 
And somehow our hearts, knit by our chores, 
Are strengthened to know we'll see temple doors. 
These rags will be white, for joy is in store 
Forevermore.

Into the Wind, sacred music for SATB choir
Chorale SATB

$1.99 1.88 € Chorale SATB PDF SheetMusicPlus

Piano and voice - Digital Download

SKU: LV.3529

Composed by F. Woolcott. Country life, Domestic life, Fathers & children, Boys, Spouses, Occupations, Native Americans, Courage, Aged persons, Progress, Death. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.3529).

The Pioneers Home. Written by T.E. Garrett. Music by F. Woolcott. Published 1858 by G. Fritz, 52 Fourth St. in St. Louis. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Country life, Domestic life, Fathers & children, Boys, Spouses, Occupations, Native Americans, Courage, Aged persons, Progress, Death. First line reads He was a daring Pioneer, a true and honest man..

About The Lester S. Levy Collection

The Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.

WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.

The Pioneers Home
Piano, Voix

$5.99 5.67 € Piano, Voix PDF SheetMusicPlus

SATB choir, wind quintet, and piano - Medium - Digital Download

SKU: MQ.8560-E

Composed by Libby Larsen. Instrument part. 28 pages. E. C. Schirmer Music Company - Digital #8560-E. Published by E. C. Schirmer Music Company - Digital (MQ.8560-E).

English.

This piece is a three-part collection based on poetry by American pioneers. The texts are full of a kind of raw energy, swashbuckling attitude, and profundity of heart and commitment characteristic of those settlers west of the Hudson. I had also looked at the more erudite essays of Coleridge-Taylor, Thoreau, and Emerson but chose the rougher stanzas because the primitive voices, the pioneers, were profound, simply in the way they expressed the nature of their experiences. The first piece, 'Comin’ to Town,' is about cowboys after a month on the range—bawdy, rowdy, and raucous. The second, 'Beneath These Alien Stars,' is about the bonding of the human spirit to the land. The third piece, 'A Hoopla,' depicts a barn dance and vocalists circle ‘round the instruments, stomp, clap, and generally perform with abandon, vigor, and boisterousness. The Settling Years was commissioned and premiered by The Singing Sergeants and the United States Air Force Band for the 150th anniversary of the Music Educators National Convention.-Libby Larsen


Instrumental Parts include: Flute, Oboe, Clarinet, Horn, Bassoon, and Piano.

The Settling Years: 1. Comin' to Town (Piano/Choral Score)
Chorale SATB

$3.25 3.08 € Chorale SATB PDF SheetMusicPlus

SATB choir and piano or wind quintet and piano - Medium - Digital Download

SKU: MQ.4286-E

Composed by Libby Larsen. Choral score. 52 pages. E. C. Schirmer Music Company - Digital #4286-E. Published by E. C. Schirmer Music Company - Digital (MQ.4286-E).

English.

This piece is a three-part collection based on poetry by American pioneers. The texts are full of a kind of raw energy, swashbuckling attitude, and profundity of heart and commitment characteristic of those settlers west of the Hudson. I had also looked at the more erudite essays of Coleridge-Taylor, Thoreau, and Emerson but chose the rougher stanzas because the primitive voices, the pioneers, were profound, simply in the way they expressed the nature of their experiences. The first piece, 'Comin’ to Town,' is about cowboys after a month on the range—bawdy, rowdy, and raucous. The second, 'Beneath These Alien Stars,' is about the bonding of the human spirit to the land. The third piece, 'A Hoopla,' depicts a barn dance and vocalists circle ‘round the instruments, stomp, clap, and generally perform with abandon, vigor, and boisterousness. The Settling Years was commissioned and premiered by The Singing Sergeants and the United States Air Force Band for the 150th anniversary of the Music Educators National Convention.-Libby Larsen


Instrumental Parts include: Flute, Oboe, Clarinet, Horn, Bassoon, and Piano.

The Settling Years: (Piano/Choral Score)
Chorale SATB

$5.60 5.3 € Chorale SATB PDF SheetMusicPlus

Choral Choir,Choral,SATB Chorus - Level 2 - Digital Download

SKU: A0.1490010

Composed by Text: Eden Reeder Latta (1839 - 1915) Tune: Henry Southwick Perkins (1833 -1914. Arranged by Ken Litton. Christian,Lent,Religious,Sacred. 11 pages. Artist of Note, Inc. #1066874. Published by Artist of Note, Inc. (A0.1490010).

Whiter Than the Snow/Eden Reeder Latta  - Henry Southwick Perkins BLESSED BE THE FOUNTAIN
arr. Ken Litton (ASCAP)As an SBC music missionary active in Brazil I quickly discovered the hymns missionaries had taken with them as the work gained impetus from the 1890s when the Bagbys arrived to build on the foundation laid by early pioneers like Solomon Ginsburg. I found myself leading those hymns from the nearly 100 year old Cantor Cristão (Christian Singer) in the strongly attended evening services at the Igreja Batista Rio Doce (Sweet River Baptist Church) in Recife, with people literally leaning in through the windows from outside to sing along. Just a normal p.m. attendance or... curiosity about the missionary leading? No, certainly it was the message of the gospel in these great hymns and in the Brazilians’ creative work as well. I mainly remember holding that small print hymnal in one hand and leading with the other (shaking badly) and singing in Portuguese!
From that kind of congregational participation I vividly remember the hymn Blessed be the Fountain by Eden Reeder Latta (1839 - 1915) and Henry Southwick Perkins (1833 -1914) with it’s energetic dotted eighth and sixteenth rhythm figures and text of confession based on Zechariah 13:1. That text was very important in the lives of disciples in Brazil and in my own heart. Here I have used only the verses of the text and tune, simply smoothing out the rhythm and adjusting the lyric to more modern usage (yet preserving the devotional pronouns Thee, Thy and Thine).
The tune BLESSED BE THE FOUNTAIN is altered in rhythm, tempo and one descending interval from the original.  The arrangement is by me, having built the intro, interlude and key change as well as the ending from the material that constituted the refrain in the origina. As a bridge and additional textual/musical impulse into the key change and final verse I’ve interpolated the refrain from the well-known gospel hymn Whiter than Snow (FISCHER) by James Nicholson and William G. Fischer.
The voices include a wide variety of unison, two-part and four-part passages that are well within the capability of the average church choir. The accompaniment difficulty level is about as minimal as it can be I hope, while still reflecting support for the voices, a measure of variety as well as some real independence.
I certainly think choirs of some ability and their dedicated accompanists will enjoyWhiter Than the Snow as much as I have in developing it.

Whiter Than the Snow
Chorale SATB

$2.99 2.83 € Chorale SATB PDF SheetMusicPlus


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