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Alto Saxophone Solo - Level 1 - Digital Download SKU: A0.643946 By Olivia Rodrigo. By Annie Clark, Daniel Nigro, Jack Antonoff, Olivia Rodrigo, and Taylor Swift. Arranged by Josiel Oliveira. Multicultural,Pop,Romantic Period,World. Individual part. 2 pages. M das Melodias #253023. Published by M das Melodias (A0.643946). Music sheet music Deja Vu for Alto Saxophone. Easy level. Very famous music. More played. Excellent romantic music. Beautiful romantic music. Singer Olivia Rodrigo. Relaxing music to dream. Car rides to Malibu Strawberry ice cream One spoon for two And trading jackets Laughing 'bout how small it looks on you (Ha-ha-ha-ha, ha-ha-ha-ha, ha-ha-ha-ha) Watching reruns of Glee Being annoying Singing in harmony I bet she's bragging To all her friends, saying you're so unique, hmm So when you gonna tell her That we did that, too? She thinks it's special But it's all reused That was our place, I found it first I made the jokes you tell to her when she's with you Do you get déjà vu when she's with you? Do you get déjà vu? (Ah), hmm Do you get déjà vu, huh? Do you call her Almost say my name? 'Cause let's be honest We kinda do sound the same Another actress I hate to think that I was just your type I'll bet that she knows Billy Joel 'Cause you played her Uptown Girl You're singing it together Now I bet you even tell her How you love her In between the chorus and the verse (ooh) (I love you) So when you gonna tell her That we did that, too? She thinks it's special But it's all reused That was the show we talked about Played you the song she's singing now when she's with you Do you get déjà vu when she's with you? Do you get déjà vu? Oh Do you get déjà vu? Strawberry ice cream in Malibu Don't act like we didn't do that shit, too You're trading jackets like we used to do (Yeah, everything is all reused) Play her piano, but she doesn't know (oh, oh) That I was the one who taught you Billy Joel (oh) A different girl now, but there's nothing new (I know you get déjà vu).
Deja Vu
Saxophone Alto
Olivia Rodrigo
$4.99 4.35 € Saxophone Alto PDF SheetMusicPlus

Trombone Solo - Level 1 - Digital Download SKU: A0.643954 By Olivia Rodrigo. By Annie Clark, Daniel Nigro, Jack Antonoff, Olivia Rodrigo, and Taylor Swift. Arranged by Josiel Oliveira. Multicultural,Pop,Romantic Period,World. Individual part. 2 pages. M das Melodias #253031. Published by M das Melodias (A0.643954). Music sheet music Deja Vu for Trombone. Easy level. Very famous music. More played. Excellent romantic music. Beautiful romantic music. Singer Olivia Rodrigo. Relaxing music to dream. Car rides to Malibu Strawberry ice cream One spoon for two And trading jackets Laughing 'bout how small it looks on you (Ha-ha-ha-ha, ha-ha-ha-ha, ha-ha-ha-ha) Watching reruns of Glee Being annoying Singing in harmony I bet she's bragging To all her friends, saying you're so unique, hmm So when you gonna tell her That we did that, too? She thinks it's special But it's all reused That was our place, I found it first I made the jokes you tell to her when she's with you Do you get déjà vu when she's with you? Do you get déjà vu? (Ah), hmm Do you get déjà vu, huh? Do you call her Almost say my name? 'Cause let's be honest We kinda do sound the same Another actress I hate to think that I was just your type I'll bet that she knows Billy Joel 'Cause you played her Uptown Girl You're singing it together Now I bet you even tell her How you love her In between the chorus and the verse (ooh) (I love you) So when you gonna tell her That we did that, too? She thinks it's special But it's all reused That was the show we talked about Played you the song she's singing now when she's with you Do you get déjà vu when she's with you? Do you get déjà vu? Oh Do you get déjà vu? Strawberry ice cream in Malibu Don't act like we didn't do that shit, too You're trading jackets like we used to do (Yeah, everything is all reused) Play her piano, but she doesn't know (oh, oh) That I was the one who taught you Billy Joel (oh) A different girl now, but there's nothing new (I know you get déjà vu).
Deja Vu
Trombone
Olivia Rodrigo
$4.99 4.35 € Trombone PDF SheetMusicPlus

Voice and piano - Medium - Digital Download SKU: MQ.8492-27E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-27E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-27E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
Op. 1, No. 3: Adieu from Songs of Gouvy, V2 (Downloadable)
Piano, Voix

$3.00 2.61 € Piano, Voix PDF SheetMusicPlus

Choral Choir,Choral - Level 5 - Digital Download SKU: A0.1347430 Composed by Wilson Shitandi. Folk,Religious,Spiritual,Traditional. 23 pages. Songburd Music #846653. Published by Songburd Music (A0.1347430). Africa's rich and varied history has been shaped by many factors, and the same could be said for Africa's captivating traditional and indigenous music styles, which in turn have influenced many other genres of music around the world.  With its early beginnings, the traditional music of Africa has walked hand-in-hand with the development of cultures and languages, each with its distinct traditions and dialects that bring a unique flavor to the African folk tunes that are so much a part of the families, clans and communities that form a music heritage within Africa. Nowhere is this more apparent than in the Luhya community in Kenya, where we clearly see the special relationship that exists between the Samia people, and their articulate dialect, and the delightful expression of their sacred folk music and folk music style.  We could even go so far as to say that Samia folk tunes are closely tied to their art, folklore and religious practices, and also to the artistic influences within and without the Luhya community.Notably, what makes African folk music style special is the sense of purpose and meaning that is attributed to the music--through its use in religious practices, ceremonies, and celebrations-- where audience participation is encouraged and even expected.  The techniques and forms of the music, which give this genre a voice of its own, gives us reason to pay close attention to the characteristics that define this music.  We can briefly point out the use of polyrhythmic techniques, percussion, shimmer, improvisational instrumentation, yodeling and syncopated rhythms that comprise African folk music, but none gets our attention more than the call and response of the singers, which shows the close connection between the language (dialect) and the music, all of which involves the singers and the audience in a musical conversation. This arrangement by Wilson Shitandi combines two melodies commonly used in the praise of leaders or deities--depending on the culture--that typically have no specific title, and sometimes derive their name from an instrument or type of dance.  Stylistically, this arrangement successfully weaves two themes together into one, the first being a lively and upbeat expression, and the second being more meditative and contemplative, both of which alternate throughout the music.   Importantly, the text for this chorus was originally written in Swahili, and later rewritten using the Samia dialect, which the composer feels is more fitting to the melody, with words drawn from Christian traditions, which again demonstrates that music and language are indeed closely linked in the folk music of Africa, as it is in this uplifting arrangement of Mwiche Khumufumie (Come Let Us Glorify Him).
Mwiche Khumufumie

$11.99 10.45 € PDF SheetMusicPlus

Piano,Trumpet - Level 5 - Digital Download SKU: A0.1028166 Composed by Graeme Culpepper. Contemporary. Score and part. 47 pages. Graeme Culpepper #6866343. Published by Graeme Culpepper (A0.1028166). Concerto for Trumpet and Orchestra Composer: Graeme Culpepper Year: 2022   Program Notes: I feel that there is a time in every composer's life when they decide to write a concerto. Writing a concerto is as intriguing as it is difficult, as finding a balance between soloist and ensemble can prove to be a tricky task. What’s more, is deciding upon said ensemble. In today’s musical climate, the supporting ensemble can be a variety of different instrumental groups ranging from a chamber ensemble consisting of just a few musicians to a full symphony orchestra. In my humble opinion, with a genre as grand as a concerto, especially one involving the trumpet, I find it fitting to use the orchestra to accompany the trumpet. However, I opted to use an orchestra without a trumpet section to better support the soloist. This concerto’s first movement is built upon a couple of form-defining motifs. One in the form of an ostinato that is constantly changing meter, and another that is a simple short rhythmic cell that is able to fit in a variety of different textures throughout the movement. This movement also introduces the main motif throughout the entire concerto: a melodic sequence consisting of a minor third, a perfect fifth, followed by another minor third which resolves down by half step. This is the unifying motif of the entire concerto. I often ponder as to where the material in the second movement came from. After a long time of reflection, I have come to the conclusion that it is a subconscious expression of myself that comes from deep within. The second movement is perhaps the most vulnerable I have ever been with any of the music I have written, and the experience I personally have when listening to it is one that is very intimate. The third movement is a thrilling romp that is entirely built on the unifying motif mentioned earlier. The whole movement is essentially one big variation of itself. This movement is arguably the most technical and gives the trumpet soloist a great opportunity to show off their skill. This movement is also built upon a one-bar rhythmic ostinato so that the tension in this movement is never fully resolved until the very last bar, in hopes that this will keep the listener on their toes at all times.  Performed live in Recital Hall at Indiana University Jacobs School of Music on March 1st, 2022Purchase includes Full Score + Solo Trumpet Part.
Concerto for Trumpet with Piano Reduction
Trompette, Piano

$19.99 17.42 € Trompette, Piano PDF SheetMusicPlus

Concert Band - Level 4 - Digital Download SKU: A0.1008264 Composed by William Brenner. Contemporary. Score and parts. 80 pages. William Brenner #5370501. Published by William Brenner (A0.1008264). Halifax was devastated on 6 December 1917 when two ships collided in the city's harbour, one of them a munitions ship loaded with explosives bound for the battlefields of the First World War. What followed was one of the largest human-made explosions prior to the detonation of the first atomic bombs in 1945.(...)In early December, one of the merchant ships in port was the large, Norwegian vessel Imo, en route from Halifax to New York to pick up relief supplies (...) Another was the French munitions ship Mont-Blanc - filled with tons of benzol, the high explosive picric acid, TNT and gun cotton - arriving in Halifax to join a convoy across the ocean.(...)The Imo was departing the harbour on the morning of 6 December 1917 (...) Imo had an experienced, local harbour pilot on board, William Hayes, who knew the navigation rules of the harbour. However, earlier encounters that morning with two inbound vessels moving towards Bedford Basin - both of which Imo had passed starboard-to-starboard - resulted in the unusual position that Imo now occupied, too far to the east (...) The Mont-Blanc had arrived outside Halifax the previous day and anchored overnight at the mouth of the harbour. On the morning of 6 December, the ship was cleared by harbour authorities to proceed toward Bedford Basin. Despite the Mont-Blanc's dangerous cargo, there was no special protocol for the passage of munitions ships in the harbour. Other ships such as the Imo were not ordered to hold their positions that morning until the Mont-Blanc had made safe passage through the port. Francis Mackey, Mont-Blanc's pilot, was guiding the ship inbound on the Dartmouth-side of the Narrows, when he encountered the Imo heading straight towards him in what he believed was Mont-Blanc's lane. Mackey would later maintain that the Imo was moving at an unsafe speed for such a large, unwieldly ship in the harbour, and also that incoming ships (in this case Mont-Blanc) had the right-of-way over outgoing vessels. Regardless of the accuracy of those claims, what is certain is that the Imo was sailing too far to the east, in what should have been Mont-Blanc's path.After a series of whistles and miscommunications between the officers and pilots on the two ships, and failed manoeuvres to avoid a collision, the Imo struck the starboard bow of the Mont-Blanc. After a few moments the two ships parted, leaving a gash in Mont-Blanc's hull and generating sparks that ignited volatile grains of dry picric acid, stored below its decks. (...) The Mont-Blanc exploded at 9:04:35 a.m., sending out a shock wave in all directions, followed by a tsunami that washed violently over the Halifax and Dartmouth shores. More than 2.5 square km of Richmond were totally levelled, either by the blast, the tsunami, or the structure fires caused when buildings collapsed inward on lanterns, stoves and furnaces.Homes, offices, churches, factories, vessels (including the Mont-Blanc), the railway station and freight yards - and hundreds of people in the immediate area - were obliterated. (...) Across Halifax, there were miraculous stories of survival. And equally, stories of tragedy. Many children were killed on their walk to school that morning, or blinded by flying glass. Those that survived the blast stumbled home, only to find their houses shattered, or their parents dead or wounded, among the wreckage. (...) Every year on 6 December, people gather above the Narrows to hear the ringing of the memorial's carillon bells, and to remember the victims of the disaster. www.thecanadianencyclopedia.ca/en/article/halifax-explosion
1917: The Halifax Disaster
Orchestre d'harmonie

$22.99 20.03 € Orchestre d'harmonie PDF SheetMusicPlus

Piano Solo - Level 2 - Digital Download SKU: A0.643944 By Olivia Rodrigo. By Annie Clark, Daniel Nigro, Jack Antonoff, Olivia Rodrigo, and Taylor Swift. Arranged by Josiel Oliveira. Multicultural,Pop,Romantic Period,World. Score. 3 pages. M das Melodias #253021. Published by M das Melodias (A0.643944). Music sheet music Deja Vu for Piano. Easy level. Very famous music. More played. Excellent romantic music. Beautiful romantic music. Singer Olivia Rodrigo. Relaxing music to dream. Car rides to Malibu Strawberry ice cream One spoon for two And trading jackets Laughing 'bout how small it looks on you (Ha-ha-ha-ha, ha-ha-ha-ha, ha-ha-ha-ha) Watching reruns of Glee Being annoying Singing in harmony I bet she's bragging To all her friends, saying you're so unique, hmm So when you gonna tell her That we did that, too? She thinks it's special But it's all reused That was our place, I found it first I made the jokes you tell to her when she's with you Do you get déjà vu when she's with you? Do you get déjà vu? (Ah), hmm Do you get déjà vu, huh? Do you call her Almost say my name? 'Cause let's be honest We kinda do sound the same Another actress I hate to think that I was just your type I'll bet that she knows Billy Joel 'Cause you played her Uptown Girl You're singing it together Now I bet you even tell her How you love her In between the chorus and the verse (ooh) (I love you) So when you gonna tell her That we did that, too? She thinks it's special But it's all reused That was the show we talked about Played you the song she's singing now when she's with you Do you get déjà vu when she's with you? Do you get déjà vu? Oh Do you get déjà vu? Strawberry ice cream in Malibu Don't act like we didn't do that shit, too You're trading jackets like we used to do (Yeah, everything is all reused) Play her piano, but she doesn't know (oh, oh) That I was the one who taught you Billy Joel (oh) A different girl now, but there's nothing new (I know you get déjà vu).
Deja Vu
Piano seul
Olivia Rodrigo
$4.99 4.35 € Piano seul PDF SheetMusicPlus

Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859661 Composed by Sydney Stevens. Country,Folk,New Age,Pop. 5 pages. Sydney Stevens, Water Music #2942895. Published by Sydney Stevens, Water Music (A0.859661). Contact: sydneystevenspianostudio@gmail.comTime: Peaceful piano/vocal composed by Sydney Stevens (ASCAP). Sheet music arrangement is for piano/vocal/chords.Sounds like: Sarah McLachlan, Vanessa Carlton, Loreena McKennittFrom Album: Cycles of Life Theme: Contemplative theme of time passing more quickly the longer we're here -- the hourglass effect. Also, how time seems to pass faster when we are doing something we love.Mood: Romantic, gentle, warm, emotional.Musical Traits: Strong melody in right hand piano that reflects the vocal line.Performance Time: 4:17Sydney Stevens music is available on: Pandora, Spotify, iTunes, Amazon, Whisperings Solo Piano Radio, AllMusicMore Links: www.sydneystevenswatermusic.com http://www.linkedin.com/in/sydney-stevens-532a113aBIOGRAPHY:Sydney Stevens began writing melodies on the piano before she could reach the pedals. Her earliest memory was watching her mother play classical piano. She began piano lessons at the age of 8, and started composing shortly thereafter.Stevens approaches her compositions as an artist. She paints musical portraits of the things that bring meaning to life: relationship to living things, emotional healing, discovering what matters most and honoring that as best we are able. Stevens' beautiful piano-based music aligns one with their own heart. Although some of her music can be described as New Age, her roots are heavily based in classical and jazz. Her study of classical composition makes her music more complex than some New Age music. Her music has been likened to the impressionistic composers such as Claude Debussy. Sydney's formal training is also reflected in her ability to compose for orchestral instruments. Her latest release, Cycles of Life, was solely recorded and produced by Sydney, programming all of the virtual instruments.Sydney has a great love for jazz. Keith Jarrett was an influence on her with his innovative and improvisational piano recordings and performances. She was particularly impressed with the freedom of style he portrayed in his performances. Bill Evans was something Sydney heard played as a young child. Where her mother was a classical pianist, her father was a jazz pianist. Perhaps that's why some of Sydney’s music can be described as a crossover between classical and jazz--remnants from those early years. Joni Mitchell and Judy Collins were big inspirations for Sydney's songwriting. She was especially drawn to the deeply emotional lyrics in many of their songs.Cycles of Life, the title track from Sydney's current release, was composed for her late step dad. The song is about the cycle of birth and death: Cycles of life go on, yet we carry all that we've known and loved through the ages. Time, another track on Sydney's current release, is a song about how time passes more quickly when we are doing something we cherish. Brian's Song, inspired by the loss of her father-in-law, reflects: All that really matters is the way we fill our heart, and the ways that it has loved. Dawn, a track from Sydney's album Seasons, is a beautiful piano-based instrumental with light string background. It portrays that very peaceful hour as the sun slowly lights up the world -- the hour of dawn.Sydney is a poet. She sees the world through a heart that feels the joy and sorrow of the world and those she meets. Her gift is the ability to transfer that emotion into music. Listening to her music is like taking a journey. She delves into depths of emotion, often taking the lis.
Time
Voix Alto, Piano

$4.95 4.31 € Voix Alto, Piano PDF SheetMusicPlus

Voice and piano - Medium - Digital Download SKU: MQ.8492-07E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-07E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-07E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
Op. 45, No. 7: À Diane from Songs of Gouvy, V2 (Downloadable)
Piano, Voix

$3.00 2.61 € Piano, Voix PDF SheetMusicPlus

Voice and piano - Medium - Digital Download SKU: MQ.8492-32E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 8 pages. E. C. Schirmer Music Company - Digital #8492-32E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-32E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
Op. 1, No. 8: Illusions perdues from Songs of Gouvy, V2 (Downloadable)
Piano, Voix

$3.00 2.61 € Piano, Voix PDF SheetMusicPlus

Small Ensemble Alto Saxophone,Guitar,Piano,Recorder,Synthesizer,Violin - Level 3 - Digital Download SKU: A0.976832 Composed by Monica Bergo. Contemporary. Score and parts. 26 pages. Monica Bergo #3235413. Published by Monica Bergo (A0.976832). 2017 Holiday Contest EntryA thousand moons (For Eleonora)   My eyes inside your I finally met you your boss laid on my aching belly that miracle  you are ... I sought, I thought I invented and imagined and now I tremble at the thought that all this is not true not fade away ... you're mine ... Who will you be (where will you go) where will you go (who will be)  of who you'll love? and I lose myself to dream your life to be invented thousand moons (lots of sun) you see And while time changes everything You blossom and you are rose and you are rebel wind and you are fire, sparks sustain me,  exalt me and we reverse sides my embrace that melts fear and welcomes the thousand moons that you are the much sun that  you are I will dry up your tears of love I will teach you to make quickly heal the heart and I'll be there thoughtful and silent spectator actress you are in this movie that is your life After me you, a thousand moons and sun still forget me if the pains you to think of me pieces of me in your young pain fragments that the time will disappear in your moon I will be Time that you know that  know and  saw my years be more good to her Wind,you will need Always inflate strong her sails a thousand moons, the sun for her If you love me I  death for you defy if you do not want to leave me and you will walk in my own magical balance in your moon and your sun I'll be ... I thought you, I invented you I dreamed and imagined but now that you're next to me I would have hoped for so much because you are.... all this and more .....                                                                                Monica Bergo
Mille lune (Dedicato a Eleonora)

$3.99 3.48 € PDF SheetMusicPlus

Alto Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.859667 Composed by Sydney Stevens. Contemporary,Country,Folk,New Age,Pop. 6 pages. Sydney Stevens, Water Music #2959565. Published by Sydney Stevens, Water Music (A0.859667). Contact: sydneystevenspianostudio@gmail.comHerbie: Emotional, heartfelt piano/vocal composed by Sydney Stevens (ASCAP). Sheet music arrangement is for piano/vocal/chords. From  Album: Cycles of Life Theme: What a pal, what a joyful friend. Appropriate for the loss of a loved one. Song was inspired by the loss of a pet. Mood: Flowing, reflective, tender, comforting Musical Traits: Strong melody, arpeggiated left hand piano, right hand reflects vocal part. Performance Time: 2:48 Sydney Stevens music is available on: Pandora, Spotify, iTunes, Amazon, Whisperings Solo Piano Radio, AllMusic More Links: www.sydneystevenswatermusic.com http://www.linkedin.com/in/sydney-stevens-532a113a BIOGRAPHY:Sydney Stevens began writing melodies on the piano before she could reach the pedals. Her earliest memory was watching her mother play classical piano. She began piano lessons at the age of 8, and started composing shortly thereafter.Stevens approaches her compositions as an artist. She paints musical portraits of the things that bring meaning to life: relationship to living things, emotional healing, discovering what matters most and honoring that as best we are able. Stevens' beautiful piano-based music aligns one with their own heart. Although some of her music can be described as New Age, her roots are heavily based in classical and jazz. Her study of classical composition makes her music more complex than some New Age music. Her music has been likened to the impressionistic composers such as Claude Debussy. Sydney's formal training is also reflected in her ability to compose for orchestral instruments. Her latest release, Cycles of Life, was solely recorded and produced by Sydney, programming all of the virtual instruments.Sydney has a great love for jazz. Keith Jarrett was an influence on her with his innovative and improvisational piano recordings and performances. She was particularly impressed with the freedom of style he portrayed in his performances. Bill Evans was something Sydney heard played as a young child. Where her mother was a classical pianist, her father was a jazz pianist. Perhaps that's why some of Sydney’s music can be described as a crossover between classical and jazz--remnants from those early years. Joni Mitchell and Judy Collins were big inspirations for Sydney's songwriting. She was especially drawn to the deeply emotional lyrics in many of their songs.Cycles of Life, the title track from Sydney's current release, was composed for her late step dad. The song is about the cycle of birth and death: Cycles of life go on, yet we carry all that we've known and loved through the ages. Time, another track on Sydney's current release, is a song about how time passes more quickly when we are doing something we cherish. Brian's Song, inspired by the loss of her father-in-law, reflects: All that really matters is the way we fill our heart, and the ways that it has loved. Dawn, a track from Sydney's album Seasons, is a beautiful piano-based instrumental with light string background. It portrays that very peaceful hour as the sun slowly lights up the world -- the hour of dawn.Sydney is a poet. She sees the world through a heart that feels the joy and sorrow of the world and those she meets. Her gift is the ability to transfer that emotion into music. Listening to her music is like taking a journey. She delves into depths of emotion, often taking the listener to places that can be difficult to go without the comfort of a beautiful song to accompany them.
Herbie
Voix Alto, Piano

$4.95 4.31 € Voix Alto, Piano PDF SheetMusicPlus

Voice and piano - Medium - Digital Download SKU: MQ.8492-25E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-25E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-25E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).
Op. 1, No. 1: Tu demandes pourquoi from Songs of Gouvy, V2 (Downloadable)
Piano, Voix

$3.00 2.61 € Piano, Voix PDF SheetMusicPlus

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.747199 Composed by Christopher R. Brown. Christian,Gospel,Praise & Worship,Sacred. Octavo. 9 pages. Christopher Brown #4628111. Published by Christopher Brown (A0.747199). About the song: In John 14, Jesus says, I am the way, the truth and the life. No one comes to the Father except through me. We are severely mistaken if we think that any other road leads to peace with God. No amount of good deeds could pay for the debt we owe. But we are also mistaken if we think that we are too far gone from Christ's reach. This song is a message for both the self-righteous and the hopeless. There is a Way that leads to life forevermore with our Heavenly Father, and His Name is Jesus Christ. All who enter through the gate of Christ by faith will be saved. He came that you might have life, and have it to the full. Rejoice! If you can believe, believe!Can be performed with piano accompaniment only, OR with additional band members, OR with full orchestra*.Please Note:You can purchase individual copies of the choral score separately on Sheet Music Plus. Performance of this piece requires the purchase of one choral score per singer.*Full orchestration and parts also available on Sheet Music Plus.Included in your Purchase:Piano AccompanimentLyrics:Verse 1There’s a way that seems right to the human eye,A path that we think is best.We pretend to go on believing,That a good life can pass the test.But the best that we have to offer,Is no more than a filthy rag.When we stand before God, the Father,There is only one Name that will save.Chorus 1Jesus is The Way,Jesus is The Truth,Jesus is The Life for me and you.Jesus is The Door,And all who enter through,Will be saved and be made new.Jesus is The Way.Verse 2We were shackled in chains of sin and shame,Walking blinded by selfish gain.Every turn led to disappointment,Wanting more with each passing day.Prechorus 2But the blood of a precious Saviour,Can remove every guilty stain.He will carry your ev’ry burden,There is hope in Him today!Chorus 2Jesus is The Way,Jesus is The Truth,Jesus is The Life for me and you.Jesus is The Door,And all who enter through,Will be saved and be made new.Jesus is The Way,Jesus is The Way.BridgeStraight and narrow is the road that leads to life forevermore,There’s only One Who paid the price,The perfect, spotless sacrifice,Only Jesus Christ!Chorus 3Jesus is The Way,Jesus is The Truth,Jesus is The Life for me and you.Jesus is The Door,And all who enter through,Will be saved and be made new.Jesus is The Way,Jesus is The Way,Jesus is The Way!
Jesus Is The Way (Anthem) - Piano Accompaniment
Chorale SATB

$5.99 5.22 € Chorale SATB PDF SheetMusicPlus

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.876427 Composed by Joe Procopio. Christian,Pop. Score. 3 pages. JoeCopio Music LLC #1945. Published by JoeCopio Music LLC (A0.876427). THE TOUCH, THE TASTE OF TIME By Joe Procopio From the CD ALL IN MY LIFE THE TOUCH, THE TASTE OF TIME is a pop song that tells of the feelings that come from our unique awareness of our own mortality. It is a song that describes a love for another that is so powerful that it lets the lover see its source as infinite, divine and eternal Love. It is a love that transcends the moment and touches eternity. A deep, abiding, Divine love that is possible for us as humans to experience by loving God and others in a manner that mirrors Christ. Barbie plays the guitar and sings the song by herself. She is one of those rare artists that can do more alone than most can do with a group. You can also hear Barbie on Why Are You So Lonely, A Woman’s Blues, For You My God and Maybe It’s The Way. These recordings can be found on Sheet Music Plus, iTunes, Amazon, etc., in a CD entitled All In My Life by the author. The printed sheet music here shows the song as a Lead Sheet. That is, the melody, the lyrics and the chords. JOE PROCOPIO IS THE AUTHOR OF THE VERY BEST AND LOWEST PRICED MUSIC EBOOKS AVAILABLE WORLDWIDE INCLUDING THE AWARD WINNING BASIC MUSIC THEORY.
THE TOUCH, THE TASTE OF TIME
Piano, Voix
Joe Procopio From the CD ALL IN MY LIFE THE TOUCH, THE TASTE OF TIME is a pop song that tells of the feelings that come from our unique awareness of our own mortality It is a song that describes a love for another that is so powerful that it lets the lover see its source as infinite, divine and eternal Love
$3.99 3.48 € Piano, Voix PDF SheetMusicPlus






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