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.

Piano Solo - Level 3 - Digital Download SKU: A0.1192328 Composed by Kenny Ascher and Paul Williams. Arranged by Arranged by Elena Fortin. Children,Contemporary,Film/TV,Standards. Score. 5 pages. Elena Fortin #791761. Published by Elena Fortin (A0.1192328). The Rainbow Connection from The Muppet MovieIntermediate Piano Solo arrangement by Elena Fortin. Original words and music by Kenneth L. Ascher and Paul Williams.Most people hear the intro of this piece and immediately think of Kermit the Frog, strumming his banjo and singing this beautiful little melody. It is one of the very first sheets of music that I went out and purchased at our local music store. I was so excited to learn it! Fast forward many years later (ahem!) and I am so happy to see it entertaining a whole new generation of people. On YouTube, Kermit uploaded a special performance of it in April 2020!I performed it as a duet with a student at a recital and it was a big hit (we even came up with our own choreography to go along with the piece!) This melody is one of those timeless and iconic pieces that will forever live in my heart. I was excited to see that I would be able to share an arrangement I made!My version starts out in the key of A major and offers a simple, more pianistic left hand accompaniment. Smooth, flowing arpeggios accompany most of the piece. The first verse is left to be fairly simple and lets the melody shine. The second verse has more harmony in the right hand and some fills that build on the melody. The key change has more movement and signals the last verse done in a very full, orchestra-like sound. The finish brings us back to a more simple arrangement--back to it's humble beginnings!I hope I made Kermit proud!Please check out my other arrangements available on SheetMusicPlus and Sheet Music Direct.WIth love,Elena

Large Ensemble Cello,Double Bass,Harp,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.889419 Composed by Luis Anjos Teixeira. Concert,Contemporary. Score and parts. 36 pages. Luis Anjos Teixeira #3492515. Published by Luis Anjos Teixeira (A0.889419). For the 2018 Chamber Music Contest Entry Eternal Bridge was made to be performed by a group of six soloists playing the following instruments: Oboe, Harp, Violin, Viola, Cello, Double Bass. It is not a difficult piece once learned. It is really a great fun for the players and very easy listening too, It covers a very wide range of audience demands. There is a groove feeling on it that makes it very pleasant to most all people. Because of its plasticity the piece allows many interpretations, therefore I did not made much use of interpretation symbols in order to leave to the performers the freedom of doing their own. Bowing and fingering are left totally virgin at the hands of the schools or the creativity of the performing Artists. P.S. - The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. This is the first time that this version is published in Sheet Music Plus. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Thanks to Claudia Eppelt for the cover design, all the Love and inspiration. Special Thanks to Nina and Stray Queen Mimi for my Family, all their Love Patience and Compassion. Love Forever.„The litle story of the - „Eternal BridgeEternal Bridge came out of a dream. Imagine a little railway station, a train that comes and stops, and your friends go inside. As you step on the little stairs to go inside, the doors close letting you out, and the train starts rolling. It speeds up very fast and enough so you can`t jump out of the little stairs back to the ground, you are holding now to the iron bars around the doors of the train, you see your friends and the people inside but they can`t see you, they can`t hear you, and you notice that the train is now on a bridge so high, that you can`t see the earth any more. Wind is blowing around me and I feel this cosmic cold and everything starts to twist around in a gigantic spiral. I still feel the Gravity but it goes in all directions at the same time pushing me violently and I feared to fail the grip on the iron bars and fall down, in an imaginary endless abyss. Little by little the speed of the events slows down progressively until everything freezes. Now, The other side of the bridge does not exist at all, neither the beginning or up or down. The train disappeared in a glimpse and I noticed that I was not falling down, just hanging there out in hyperspace, Free from Gravity. I lost the fear of falling in the abyss, it felt kind a good, because the only thing that I could see was light, pure beautiful bright white light, I was floating in light, I realised I could stay there forever, but then I felt lonely and wanted to come back home. When I finally woke up, I wrote this words in Portuguese and made a song out of it. the words go like:Ponte eterna abismo sem fundo - Vento ciclónico medo profundo - Comboio gelado lentidão d`aço - Espiral eterna suspensa no espaço - Maos agarram a vida duas barras d` aço - Corpo sacudido em espasmos de medo - Alucinação divina acordar de um sonho Eternal Bridge endless Abyss - Cyclonic wind deep Fear - Frozen Train slowness of steel - Eternal spiral suspended in space - Hands cling to life on two bars of steel - Body shaken into spasms of fear - Divine hallucination waking up from a dream

Small Ensemble - Digital Download SKU: A0.835769 Composed by Paul Burnell. Contemporary. Score and parts. 3 pages. Paul Burnell #3074281. Published by Paul Burnell (A0.835769). A text piece for one or more speakers with optional rhythmic percussion accompaniment performed ad libitum.Where the text is presented in bold the speakers should speak loudly, giving particular emphasis to text in capital letters. Where the text is presented in non-bold smaller text styles the speakers should speak less loudly or softer.   The speakers should vary the pitch of their voice throughout to give emphasis to the structure and to avoid a monotonous tonal delivery.   The repeated ‘words’ instinctively suggest a repetitive rhythmic style of delivery - this is fine.   The spaces in the text can be interpreted as rests. If there is more than one speaker the performers may either speak in unison throughout or stagger their entries and echo or overlap freely, but without losing the sense of the overall structure of the text.  Multiple speakers may also devise co-ordination points within the piece to co-ordinate collective unisons - then drift apart and overlap again.  A single speaker could also perform with an echoing sound effect that gives the impression of multiple voices. If performing with percussion, then a pulsed rhythmic style should be used.  The percussion may be freely chosen - drum kit, ‘found’ instruments, body percussion, pre-recorded backing track etc. - performing in any rhythmic style, but not detracting from or obscuring the vocal delivery. Programme note: ‘Wha-Do-Ya-Mean?’ was composed in 2008.   It was tested as a warm-up exercise for the CoMA London Ensemble, and then developed into a piece, first performed by Paul Burnell at Battersea Arts Centre, London in October 2008 and then included on the 2010 album ‘Sticking with Childish Things’.  It has subsequently been performed by CoMA Singers. The inspiration for the piece was derived from an increasingly fractious and reductive argument between two people, where one person was overheard saying What do you mean ‘what do you mean’?  This statement illustrated the pointlessness of the argument, and how comically ridiculous and meaningless it had become, and effectively ended it.

French Horn,Piano - Level 3 - Digital Download SKU: A0.549394 Composed by George Frideric Handel. Arranged by James M. Guthrie, ASCAP. Baroque,Sacred,Standards,Wedding. Score and part. 9 pages. Jmsgu3 #3492579. Published by jmsgu3 (A0.549394). Duration: 4:55, Score: 6 pages, Solo part: 1 page, piano part: 2 pages. A very famous aria (Ombra mai fu) from XerxesSuitable for any venue requiring meditative music. Excellent choice for a recital encore. Xerxes Xerxes is, in fact, an opera seria in three acts by Handel. Moreover, Handel conducted the premiere performance in London in 1738. Handel casts the opera in Persia in 470 BC. The part of Xerxes was indeed originally sung by a soprano castrato. Nowadays, the part is generally sung by a mezzo-soprano or conversely a counter-tenor. In the first place, Xerxes sings an opening aria, Ombra mai fu to a plane tree. Handel sets this aria to one of his most truly famous melodies. Although many people call it Handel’s Largo, Handel has, on the contrary, clearly marked Larghetto in the score. Handel Background George Frideric Handel (1685 - 1759) was born in Germany but eventually became a British citizen. Nonetheless, he was a famous Baroque composer. In fact, he became famous for his operas, oratorios, anthems, and organ concertos. Handel studied music and, by and large, worked as a composer in Germany and Italy before moving to London. Overall, Handel was very familiar with the contemporary music of Italy and Germany. Career in England It is important to realize that Italian opera was all the rage in England at the time. Moreover, Handel was really good at writing them. Therefore, he started not one but three opera companies in England. Alexander's Feast was a huge success in 1736, but Handel nevertheless began composing English choral works. After success with the Messiah in 1742) he certainly never again wrote an Italian opera. Consequently, he died in 1759, a treasured genius. Accordingly, the English government gave him full state honors at his funeral. Hence, he is buried in Westminster Abbey in London. Legacy Music historians agree that Handel was one of the greatest composers of the Baroque era.  To demonstrate, his works such as the Messiah, Water Music, and Music for the Royal Fireworks remain consistently popular up to the present time. He composed the coronation anthem, Zadok the Priest for the coronation of George II. Nevertheless, it has specifically been performed at every succeeding British coronation since. His oratorio Solomon has by all means also continued to be prevalent. As a matter of fact, Sinfonia from act 3 was featured in the 2012 London Olympics opening ceremony. Handel was particularly prolific. To enumerate, he wrote over forty operas.  Since the late 1960s, we have expressly experienced a revival of baroque music. Similarly, we have seen a pique of interest in historically informed musical performances. Since his death in 1779, interest in Handel's music has all in all, expanded.  

Small Ensemble Drums,Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.802642 By Wings. By Linda McCartney and Paul McCartney. Arranged by Peet du Toit. Film/TV. Score and parts. 36 pages. Peet du Toit #6115473. Published by Peet du Toit (A0.802642). Silly Love Songs is a song written by Paul McCartney and Linda McCartney and performed by Wings. The song appears on the 1976 album Wings at the Speed of Sound. It was also released as a single in 1976, backed with Cook of the House. The song, written in response to John Lennon and music critics accusing McCartney of predominantly writing silly love songs and sentimental slush, also features disco overtones.The song was McCartney's 27th number one as a songwriter; the all-time record for the most number one hits achieved by a songwriter.With this song, McCartney became the first person to have a year-end No. 1 song as a member of two distinct acts. McCartney previously hit No. 1 in the year-end Billboard chart as a member of the Beatles with I Want to Hold Your Hand in 1964 and Hey Jude in 1968.Silly Love Songs has since appeared on multiple McCartney greatest hits compilations, including Wings Greatest and All the Best!. The song has also appeared on the Hits section of the compilation album Wingspan: Hits and History. Despite its popularity, McCartney has not performed the song live since the dissolution of Wings.Silly Love Songs was written as a rebuttal to music critics (as well as John Lennon) who had criticized McCartney for writing lightweight love songs. Author Tim Riley suggests that in the song, McCartney is inviting his audience to have a laugh on him, as Elvis Presley had sometimes done. But over the years people have said, Aw, he sings love songs, he writes love songs, he's so soppy at times. I thought, Well, I know what they mean, but, people have been doing love songs forever. I like 'em, other people like 'em, and there's a lot of people I love -- I'm lucky enough to have that in my life. So the idea was that you may call them silly, but what's wrong with that? The song was, in a way, to answer people who just accuse me of being soppy. The nice payoff now is that a lot of the people I meet who are at the age where they've just got a couple of kids and have grown up a bit, settling down, they'll say to me, I thought you were really soppy for years, but I get it now! I see what you were doing! - Paul McCartney, Billboard Enjoy my brassy version of Silly Love Songs

Concert Band - Level 4 - Digital Download SKU: A0.1505031 By Macklemore & Ryan Lewis. By Ben Haggerty, Macklemore, and Ryan Lewis. Arranged by Jeffrey Bowen. Contest,Festival,Film/TV,Pop. 57 pages. Music Arrangement Services Inc. #1080436. Published by Music Arrangement Services Inc. (A0.1505031). Performed by Macklemore and Ryan Lewis.  This song has been featured in multiple films and television shows. This Concert Band Scores accompanies the SSA/Piano Score with parts for 2 Trumpets, Trombone, Alto Sax, Tenor Sax, Baritone Sax, Synth, Guitar, Bass, Drums and Percussion.  This song is about staying true to yourself despite success.  The song refers to looking for a better way, being humble and cautious, being on Broadway, grown music, letting stage lights go, giving (success) to the people and country, going back, putting hands up (dancing, partying), giving back to the people.  This arrangement varies from the original recording and features a dance break and band break.  This arrangement is designed for high school or college show choir, concert choir or community choir.  SSA/Piano Score also available.  Performance time is approximately 2:55.