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Choral Choir (SA) - Level 2 - Digital Download SKU: A0.873030 Composed by Sally Whitwell. Contemporary. Octavo. 12 pages. Sally Whitwell #3869009. Published by Sally Whitwell (A0.873030). Composer’s Note - Growing into meOn a particularly blustery Winter's day, I went to the National Arboretum in my home town of Canberra, Australia, with a bunch of very lovely kids from the Woden Valley Youth Choir (WVYC). Their director Alpha Gregory had asked me to come and do a composition workshop with the kids, to which I had replied with an enthusiastic YES!.I'd done this kind of thing with WVYC before, but this time around I wanted to take it somehow to the next level, to give the piece a real sense of place, a specific and experiential connection to the local community or landscape, and the Arboretum seemed a natural choice for me for an inspirational excursion. I had a family connection to it myself at the time, my cousin Emma worked there and was very passionate about it. Also, it is an outdoorsy kind of place and I have such fond memories of outdoorsy exploratory kinds of activities filling my entire childhood, a very typically Canberran thing. I'm sure the WVYC kids have a similar experience and I hope they know how lucky they are!So we put on our winter coats and scarves and hiked up the mountain, being sure to not only look at what was there, but also to listen, to touch, to smell. It was truly a multi sensory experience. Then we all went down to a local church hall and talked about what we saw and heard and smelt and the kids were just bursting with wonderful ideas for our new song. I've incorporated as many of their ideas as possible into the completed product, as well as my own over-arching theme; the oldest of the trees at the National Arboretum are only a couple of years older than some of the children in the group, so it seemed a nice parallel to make, their growing up alongside each other. It is my hope that the writing of this piece bonds these children to this important and magical place, so ripe with possibility, and that the connection is a lasting and meaningful one for them. It certainly will be for me.-- Sally Whitwell
Growing Into Me
Chorale 2 parties

$1.99 1.7 € Chorale 2 parties PDF SheetMusicPlus

SATB choir, horn in F, and piano (Instrumental Parts include: Horn in F, Treble Instrument in C (High or Low) and B-flat) - Moderately Easy - Digital Download SKU: MQ.50-6192-E Composed by Terre Johnson. 14 pages. MorningStar Music Publishers - Digital Sheet Music #50-6192-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.50-6192-E). English.In this original music set to the familiar text, the words flow in a wonderfully expressive and natural fashion. The French horn adds a lyrical counterpoint of rising notes to evoke the hope and comfort of the hymn. Treble Instrument in C or B-flat (high or low) may also be used. The accompaniment is intended for piano, but is not so idiomatic that it couldn't be adapted for organ without a lot of stress.
O Love That Will Not Let Me Go (Downloadable Choral Score)
Chorale SATB

$2.85 2.43 € Chorale SATB PDF SheetMusicPlus

Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.774346 By Carly Simon. By Marvin Hamlisch. Arranged by Brad Esbensen. Contemporary,Film/TV,Pop. Score and Parts. 55 pages. Brad Esbensen Music Services #3626575. Published by Brad Esbensen Music Services (A0.774346). This arrangement for vocalist and big band is written in the key of F major, and follows the form as sung on the sound track of the James Bond film, The Spy Who Loved Me, by Carly Simon. All brass parts are written mostly in a comfortable range (D5 required towards the end of the chart) and fully notated rhythm section parts are provided. The sax section requires doubles (clarinet with baritone sax doubling bassoon) but optional parts for saxes only are also included. I hope you enjoy performing this chart and if you would like it transposed into another key, please e-mail me at brad@bemus.com.au. www.bemus.com.au.
Nobody Does It Better from THE SPY WHO LOVED ME
Ensemble Jazz
Carly Simon
$60.00 51.18 € Ensemble Jazz PDF SheetMusicPlus

Cello,Instrumental Duet,Violin - Level 4 - Digital Download SKU: A0.1371762 Composed by Socrates Arvanitakis. 21st Century,Contemporary. 75 pages. Socrates Arvanitakis #955993. Published by Socrates Arvanitakis (A0.1371762). GENERAL PREFACEThis edition of violin and violoncello duets follows closely my publication of the same Greek folk pieces for classical guitar. The arrangements for guitar solo were written in two-part counterpoint and followed the strophic form of the folk songs involved. The melodic transcriptions of the folk melodies were not based in any particular performance, also avoiding the elaborate in many cases instrumental introductions associated with these songs. Thus, only the vocal melodies in a general recognizable version were presented. This new presentation for instrumental duets will stay with this generalised melodic version (without exploiting the instrumental introductions), but the form from strophic will become ternary (ABA). In the middle section the main melody will be played in the lower voice and the original guitar contrapuntal voice will be used in the upper voice if by chance it includes invertible counterpoint, otherwise new material will be added to fit the rules but also the intended harmony.The total collection is centred more on the music from mainland Greece and less in that from the Islands.The three dance rhythms of Kalamatianos (7/8), Tsamikos (3/4), and Syrtos Balos (2/4) are predominant in the whole first collection.TECHNICALSeparate parts have been included and they can be extracted as separate files with any free PDF editing programme on line.Empty pages have been added for inclusion/deletion at will and left-right hand page arrangement.Thematic Index with active internal links for ease of navigation have been added.Audio file (mp3) has been addedCONTENTS130 ΜΑΛΑΜΩ (MALAMO-The Golden)131 ΜΑΝΙΑΤΙΚΟΣ (Dance from Mani)132 ΜΑΝΤΗΛΙ ΚΑΛΑΜΑΤΙΑΝΟ(Neckerchief from Kalamata)133 ΜΑΡΑΘΗΚΕ ΚΙΤΡΟΛΕΪΜΟΝΙΑ (It withered, Citro-Lemon Tree)134 ΜΑΡΙΑ ΠΕΝΤΑΓΙΩΤΙΣΣΑ  (Maria from Five-Saints Village)135 ΜΑΡΤΥΡΙΑ Η (The Testimony)136 ΜΑΤΙΑ ΣΑΝ ΚΑΙ ΤΑ ΔΙΚΑ ΣΟΥ 1 (Eyes Like Yours 1)137 ΜΑΥΡΙΔΕΡΗ Η (The Blackish One)138 ΜΑΥΡΟ ΓΕΜΕΝΙ (Black Kerchief)139 ΜΕ ΓΕΛΑΣΕ Ν' Η ΧΑΡΑΥΓΗ (The Dawn Fooled Me)140 ΜΕΛΑΧΡΟΙΝΟ 1 (Dark Lass 1)141 ΜΕΛΑΧΡΟΙΝΟ 2 ΤΟ (The Dark One 2)142 ΜΕΝΟΥΣΗΣ Ο (Menoussis)143 ΜΕΡΜΥΓΚΑΣ (The Master Ant)144 ΜΙΑ ΒΛΑΧΑ (A Wallachian Woman)145 ΜΙΑ ΚΟΡΗ ΑΠΟΦΑΣΙΣΕ (A Maiden Decided).
Duets For Violin & Violoncello 130-145 (volume 9)
Violon, Violoncelle (duo)

$20.00 17.06 € Violon, Violoncelle (duo) PDF SheetMusicPlus

Cello,Instrumental Duet,Violin - Level 4 - Digital Download SKU: A0.1369621 Composed by Socrates Arvanitakis. 21st Century,Contemporary. 72 pages. Socrates Arvanitakis #953986. Published by Socrates Arvanitakis (A0.1369621). GENERAL PREFACE – ΓΕΝΙΚΟΣ ΠΡΟΛΟΓΟΣThis edition of violin and violoncello duets follows closely my publication of the same Greek folk pieces for classical guitar. The arrangements for guitar solo were written in two-part counterpoint and followed the strophic form of the folk songs involved. The melodic transcriptions of the folk melodies were not based in any particular performance, also avoiding the elaborate in many cases instrumental introductions associated with these songs. Thus, only the vocal melodies in a general recognizable version were presented. This new presentation for instrumental duets will stay with this generalised melodic version (without exploiting the instrumental introductions), but the form from strophic will become ternary (ABA). In the middle section the main melody will be played in the lower voice and the original guitar contrapuntal voice will be used in the upper voice if by chance it includes invertible counterpoint, otherwise new material will be added to fit the rules but also the intended harmony.The total collection is centred more on the music from mainland Greece and less in that from the Islands.The three dance rhythms of Kalamatianos (7/8), Tsamikos (3/4), and Syrtos Balos (2/4) are predominant in the whole first collection.TECHNICALSeparate parts have been included and they can be extracted as separate files with any free PDF editing programme on line.Empty pages have been added for inclusion/deletion at will and left-right hand page arrangement.Thematic Index with active internal links for ease of navigation have been added.Audio file (mp3) has been addedCONTENTS114 ΛΑΖΑΡΟΥ ΤΟΥ (Lazarus' Song)115 ΛΑΛΑ Τ' ΑΗΔΟΝΙ (The Nightingale Sings)116 ΛΑΛΗΣΕ ΚΟΥΚΕ (Sing Cuckoo Bird)117 ΛΑΦΙΝΑ Η 1 (The Doe 1)118 ΛΑΦΙΝΑ Η 2 (The Doe 2)119 ΛΕΒΕΝΤΙΑ 1 (Valour 1)120 ΛΕΒΕΝΤΙΑ 2 (Valour 2)121 ΛΕΪΜΟΝΙΑ Η (The Lemon Tree)122 ΛΕΜΟΝΑΚΙ (Little Lemon)123 ΛΕΝΚΩ Η (Lenko)124 ΛΟΥΛΟΥΔΙ ΤΗΣ ΜΟΝΕΜΒΑΣΙΑΣ (Flower of Monemvasia)125 ΛΥΓΕΡΗ Η 1 (The Graceful Lass 1)126 ΛΥΓΕΡΗ Η 2 (The Graceful Lass 2)127 Μ' ΕΚΑΨΕΣ ΓΕΙΤΟΝΙΣΣΑ (Neighbor, You've Burned Me)128 ΜΑΚΕΔΟΝΙΚΟΣ (Dance from Macedonia)129 ΜΑΚΕΔΟΝΙΚΟΣ ΚΛΕΦΤΙΚΟΣ (Macedonian Kleftik Dance).
Duets For Violin & Violoncello 114-129 (volume 8)
Violon, Violoncelle (duo)

$20.00 17.06 € Violon, Violoncelle (duo) PDF SheetMusicPlus

Cello,Instrumental Duet,Violin - Level 4 - Digital Download SKU: A0.1360705 Composed by Socrates Arvanitakis. 21st Century,Contemporary. 74 pages. Socrates Arvanitakis #945206. Published by Socrates Arvanitakis (A0.1360705). GENERAL PREFACE – ΓΕΝΙΚΟΣ ΠΡΟΛΟΓΟΣThis edition of violin and violoncello duets follows closely my publication of the same Greek folk pieces for classical guitar. The arrangements for guitar solo were written in two-part counterpoint and followed the strophic form of the folk songs involved. The melodic transcriptions of the folk melodies were not based in any particular performance, also avoiding the elaborate in many cases instrumental introductions associated with these songs. Thus, only the vocal melodies in a general recognizable version were presented. This new presentation for instrumental duets will stay with this generalised melodic version (without exploiting the instrumental introductions), but the form from strophic will become ternary (ABA). In the middle section the main melody will be played in the lower voice and the original guitar contrapuntal voice will be used in the upper voice if by chance it includes invertible counterpoint, otherwise new material will be added to fit the rules but also the intended harmony.The total collection is centred more on the music from mainland Greece and less in that from the Islands.The three dance rhythms of Kalamatianos (7/8), Tsamikos (3/4), and Syrtos Balos (2/4) are predominant in the whole first collection.TECHNICALSeparate parts have been included and they can be extracted as separate files with any free PDF editing programme on line.Empty pages have been added for inclusion/deletion at will and left-right hand page arrangement.Thematic Index with active internal links for ease of navigation have been added.Audio file (mp3) has been addedCONTENTS65  ΕΡΗΝΑΚΙ (Little Irene)66  ΕΣΕΙΣ ΠΟΥΛΙΑ ΤΟΥ ΜΑΗ (You, Birds Of May)67  ΖΑΛΙΑΡΙΚΟ ΤΟ (The Little Dizzying One)68  ΖΙΑΚΑΣ Ο (Ziakas)69  Η ΑΞΙΑ ΤΟΥ ΦΙΛΙΟΥ (The Value of the Kiss)70  Η ΜΑΝΑ ΜΟΥ ΜΕ ΔΕΡΝΕΙ (My Mother Hits Me)71  Η ΜΑΧΗ ΤΗΣ ΑΡΑΧΩΒΑΣ (The Battle Of Arahova)72  ΗΛΙΟΣ Ο (The Sun)73  ΗΡΘ' Η ΑΝΟΙΞΗ (The Spring Has Come)74  ΘΑΛΑΣΣΑ ΜΠΑΜΠΕΣΑ (Sea Unreliable)75  ΘΑΛΑΣΣΑΚΙ (Little Sea)76  ΘΕΣΣΑΛΙΚΟΣ (Dance from Thessaly)77  ΙΚΑΡΙΩΤΙΚΟΣ (Dance from Ikaria)78  ΙΤΙΑ (Willow Tree)79  ΚΑΒΑΛΑΣ (Dance from Kavala)80  ΚΑΪΚΑΚΙ (Little Caique).
Duets For Violin & Violoncello 65-80 (volume 5)
Violon, Violoncelle (duo)

$20.00 17.06 € Violon, Violoncelle (duo) PDF SheetMusicPlus

Cello,Instrumental Duet,Violin - Level 4 - Digital Download SKU: A0.1371768 Composed by Socrates Arvanitakis. 21st Century,Contemporary. 75 pages. Socrates Arvanitakis #955999. Published by Socrates Arvanitakis (A0.1371768). GENERAL PREFACE – ΓΕΝΙΚΟΣ ΠΡΟΛΟΓΟΣThis edition of violin and violoncello duets follows closely my publication of the same Greek folk pieces for classical guitar. The arrangements for guitar solo were written in two-part counterpoint and followed the strophic form of the folk songs involved. The melodic transcriptions of the folk melodies were not based in any particular performance, also avoiding the elaborate in many cases instrumental introductions associated with these songs. Thus, only the vocal melodies in a general recognizable version were presented. This new presentation for instrumental duets will stay with this generalised melodic version (without exploiting the instrumental introductions), but the form from strophic will become ternary (ABA). In the middle section the main melody will be played in the lower voice and the original guitar contrapuntal voice will be used in the upper voice if by chance it includes invertible counterpoint, otherwise new material will be added to fit the rules but also the intended harmony.The total collection is centred more on the music from mainland Greece and less in that from the Islands.The three dance rhythms of Kalamatianos (7/8), Tsamikos (3/4), and Syrtos Balos (2/4) are predominant in the whole first collection.TECHNICALSeparate parts have been included and they can be extracted as separate files with any free PDF editing programme on line.Empty pages have been added for inclusion/deletion at will and left-right hand page arrangement.Thematic Index with active internal links for ease of navigation have been added.Audio file (mp3) has been addedCONTENTS146 ΜΙΑ ΠΑΠΑΔΙΑ (A Certain Priest's Wife)147 ΜΙΑ ΠΕΡΔΙΚΟΥΛΑ ΞΕΒΓΑΙΝΕ (A Little Partridge Was Coming Out)148 ΜΙΑ ΣΜΥΡΝΙΑ ΣΤΟ ΠΑΡΑΘΥΡΙ (A Lass From Smyrna In The Window)149 ΜΙΑ ΦΟΡΑ 'ΜΟΥΝΑ ΠΟΥΛΙ (Once I  Was A Bird)150 ΜΟΙΑΖΕΙΣ (You Are Like...)151 ΜΟΙΡΟΛΟΓΙ (Dirge)152 ΜΟΥ ΠΑΡΗΓΓΕΙΛΕ Τ' ΑΗΔΟΝΙ (The Nightingale Messaged Me)153 ΜΠΑΙΝΩ ΜΕΣ' Τ' ΑΜΠΕΛΙ (I enter the Vine Yard)154 ΜΠΑΛΟΣ Ο (Balos Dance)155 ΜΠΑΤΕ ΚΟΡΙΤΣΙΑ ΣΤΟ ΧΟΡΟ 1 (Girls, Joint The Dance 1)156 ΜΠΑΤΕ ΚΟΡΙΤΣΙΑ ΣΤΟ ΧΟΡΟ 2 (Girls Joint The Dance 2)157 ΜΠΕΡΔΕΥΤΗΚΕ ΜΙΑ ΛΕΪΜΟΝΙΑ (A Lemon Tree Was Entangled)158 ΝΑ ΧΑΜΗΛΩΝΑΝ ΤΑ ΒΟΥΝΑ (Let The Mountains Come Low)159 ΝΑΝΟΥΡΙΣΜΑ (Lullaby)160 ΝΑΣΑΝ ΤΑ ΝΕΙΑΤΑ ΔΥΟ ΦΟΡΕΣ (I Wish Youth Was Twice)161 ΝΑΧΑ ΝΕΡΟ 'ΠΤΟΝ ΠΛΑΤΑΝΟ  (I Wish I Had Water From The Plane Tree).
Duets For Violin & Violoncello 146-161 (volume 10)
Violon, Violoncelle (duo)

$20.00 17.06 € Violon, Violoncelle (duo) PDF SheetMusicPlus

Alto Saxophone,Instrumental Duet,Pipe Organ - Level 3 - Digital Download SKU: A0.1310541 Composed by Thomas Groh. Contemporary. 19 pages. Thomas Groh #899605. Published by Thomas Groh (A0.1310541). The title “Litanies” obviously alludes to Jehan Alain's piece of the same name, written for organ in 1937. Inspired by this outstanding and unique composition, I had the idea, some 20 years ago, to create a piece of music based on a theme resembling a litany, too (without pretending, of course, that I would be able to equal in any way Alain's masterful quality as a composer). The main theme was notated quickly, but in the years since then, many variants and secondary themes that came to my mind did not satisfy me. Thus, it took a very long time and many ample interruptions before in this summer, with some new ideas everything fell into place as if by magic.There also exists a version of this piece for organ solo (op. 3b).
Litanies (for saxophone and organ)

$14.00 11.94 € PDF SheetMusicPlus

Instrumental Solo,Pipe Organ - Level 3 - Digital Download SKU: A0.1306531 Composed by Thomas Groh. Contemporary. Individual part. 10 pages. Thomas Groh #895881. Published by Thomas Groh (A0.1306531). The title “Litanies” obviously alludes to Jehan Alain's piece of the same name, written for organ in 1937. Inspired by this outstanding and unique composition, I had the idea, some 20 years ago, to create a piece of music based on a theme resembling a litany, too (without pretending, of course, that I would be able to equal in any way Alain's masterful quality as a composer). The main theme was notated quickly, but in the years since then, many variants and secondary themes that came to my mind did not satisfy me. Thus, it took a very long time and many ample interruptions before in this summer, with some new ideas everything fell into place as if by magic.There also exists a version of this piece for saxophone and organ (op. 3a).
Litanies (for organ solo)
Orgue

$12.00 10.24 € Orgue PDF SheetMusicPlus

Piano Solo - Level 2 - Digital Download SKU: A0.1444284 By White Lies. By Charles Cave, Harry McVeigh, and Jack Brown. Arranged by Alexander Pochert. 21st Century,Contemporary,Grunge,Punk,Rock. Score. 5 pages. Alexander Pochert #1024198. Published by Alexander Pochert (A0.1444284). Here you can buy the worldwide first piano arrangement of FIFTY ON OUR FOREHEADS by WHITE LIES.LEVEL: The piece is not for mere beginners, but fun to play at an entry intermediate level.VOICING: The arrangement is close to the original and incorporates the singing voice as well as some background music in the right hand. The left hand provides the power chords of the guitar and bass as well as the rhythm patterns of the drums.CLEFS: For the vast majority of this arrangement, the right hand plays in treble clef and the left hand plays in bass clef. Only in bar 32, the right hand jumps into bass clef for two notes.DYNAMICS & PHRASING: I write all the dynamics and phrasings so that you can recreate the arrangement as it is intended to play from the sheet music only. Many arrangements leave out dynamics and phrasing, but I find it important to incorporate.SUPPORT: I spend a lot of time and energy for writing my own arrangements, so please consider supporting me by buying them. Thank you so much for your support!
Fifty On Our Foreheads
Piano seul
White Lies
$5.99 5.11 € Piano seul PDF SheetMusicPlus

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 3.4 € Chorale TTBB PDF SheetMusicPlus

Choral Choir (SSAA) - Level 4 - Digital Download SKU: A0.1111174 By Neil Sedaka. By Neil Sedaka. Arranged by Rebecca (Boo) de Bruin. A Cappella,Barbershop,Contemporary,Pop. Octavo. 11 pages. Rebecca de Bruin #713452. Published by Rebecca de Bruin (A0.1111174). Words and Music by Neil Sedaka in 1972. Arranged in 2022 by Boo de Bruin. 11 pages for Sweet Adelines (ladies' barbershop) chorus. (Tenor, lead, baritone, bass are roughly equivalent to SSAA, although lead and baritone have similar ranges, but perform different functions). That's when the music takes me is taken from Neil Sedaka's Solitaire LP. The song was notable as it was one of the only songs for which Sedaka wrote the lyrics in addition to the music. He often finishes his song using the song. (The ending of the arrangement is inspired by how he performs the song live, rather than the recording edit). It reached #18 on the UK singles chart, #27 on the US Billboard Hot 100, and #7 on the US Billboard Easy Listening chart. This arrangement was written for a barbershop chorus, and as such the lowest voice part has a lower range than is custom for choral SSAA writing. The melody sits with the lead for the vast majority of the song, but with the bass part taking a few of the lowest notes. Please note: in keeping with normal barbershop practice the men's barbershop voicing names are used (tenor, lead, baritone and bass) and an octave-shifted bass clef is used for the baritone and bass parts. Vocal ranges are: Tenor: D4 - G5 (D above middle C to G above high C) Lead: B3 - D5 (B below middle C to D above high C) Baritone: G3 - C5 (G below middle C to D above high C) Bass: D3 - D4 (D below middle C to D above middle C).
That's When The Music Takes Me
Chorale SSAA
Neil Sedaka
$1.99 1.7 € Chorale SSAA PDF SheetMusicPlus

Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1402627 By David Warin Solomons. By David Warin Solomons. Classical,Contemporary,Singer/Songwriter. Score. 10 pages. David Warin Solomons #985851. Published by David Warin Solomons (A0.1402627). This song is based on parts of the poem by Paul Valéry Fragments du Narcisse which explains and ponders the idea of the origin of narcissism (self-love)The words are as followsMais moi, Narcisse aimé, je ne suis curieuxQue de ma seule essence ;Tout autre n’a pour moi qu’un cœur mystérieux,Tout autre n’est qu’absence.Ô mon bien souverain, cher corps, je n’ai que toi !Le plus beau des mortels ne peut chérir que soi...  Douce et dorée, est-il une idole plus sainte,De toute une forêt qui se consume, ceinte,Et sise dans l’azur vivant par tant d’oiseaux ?Est-il don plus divin de la faveur des eaux,Et d’un jour qui se meurt plus adorable usageQue de rendre à mes yeux l’honneur de mon visage ?Quitte enfin le silence, ose enfin me répondre,Bel et cruel Narcisse, inaccessible enfant,Tout orné de mes biens que la nymphe défend...Formons, toi sur ma lèvre, et moi, dans mon silence,Une prière aux dieux qu’émus de tant d’amourSur sa pente de pourpre ils arrêtent le jour !...Dieux ! de l’auguste jour, le pâle et tendre resteVa des jours consumés joindre le sort funeste ;Il s’abîme aux enfers du profond souvenir !Hélas ! corps misérable, il est temps de s’unir...Penche-toi... Baise-toi. Tremble de tout ton être !L’insaisissable amour que tu me vins promettrePasse, et dans un frisson, brise Narcisse, et fuit..English translation by D W SolomonsBut I, beloved Narcissus, am curious onlyabout my very beingeverything else has nothing more than a heart of mysteryeverything else is nothing but absenceOnly what I own, my dear sovereign body, is what I haveThe most beautiful of mortals cannot cherish anything more than itselfSweet and golden, is there a more holy idolwithin an entire forest, self-consumed and heldand set in the living azure by so many birds?Is there a more divine gift than the favour of the watersand a more adorable use of the dying daythan to return to me the honour of my face?Please don't be silent, please dare to replyBeautiful and cruel Narcissus, unreachable child owning what I hold dear but guarded by the nymphLet the two of us, you on my lips and I in my silencemake a prayer to the gods that they should be moved by so much lovethat they would keep the day held in its purple sunsetGods! only the pale and tender parts remain of the august day,It joins the fate of other days that were consumedIt goes down into the hell of deep memoryAlas, miserable body, it is time to become as oneBend down - kiss yourself - tremble with all your beingThe intangible love that you promisedhas gone by, and in a shiver, shatters Narcissus and flees.
Fragments des Fragments du Narcisse, after Paul Valéry, for alto and guitar
Piano, Voix et Guitare
David Warin Solomons
$11.00 9.38 € Piano, Voix et Guitare PDF SheetMusicPlus

Medium Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.829042 Composed by David Neff, Traditional. Arranged by David Neff. Folk,Spiritual. 4 pages. David Neff #5866099. Published by David Neff (A0.829042). No More Auction Block originated in Canada before the US Civil War among African-Americans who had escaped slavery and found safe haven there. It was later adopted by black troops in the Union Army. It is a song of determination and hope, although its positive message is tempered by the wistful line that closes each verse--many thousand gone. Those many thousand were not only the many who had escaped slavery, but also those who had been separated from family and loved ones by being sold on the auction block. This arrangement was written for Larry D. Hylton, a tenor who sang with Moses Hogan and with the Metropolitan Opera Chorus, and who has been in over 350 performances of Porgy and Bess. David Neff and Larry Hylton collaborated on recording this remotely during the 2020 pandemic in order to produce music for their church's celebration of Juneteenth, following the widespread protests over the murder of George Floyd. The song is appropriate for any occasion that celebrates African-American history and music, as well as the ideals of freedom and liberty. 
No More Auction Block for Me (Many Thousand Gone)
Voix moyenne, Piano

$4.99 4.26 € Voix moyenne, Piano PDF SheetMusicPlus






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