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Jazz Ensemble - Digital Download SKU: AX.00-PC-0014738_H1 1st F Horn. Arranged by Victor Goines. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0014738_H1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014738_H1). UPC: 654979094272.For the new Jazz For Young People Series, well-known educator and jazz artist Victor Goines arranged Second Line as a medium bright swing. Sometimes called The Joe Avery Blues, this tune dates back to the early New Orleans style and was recorded by the Preservation Hall Jazz Band. For flexibility, solos are provided for the entire trumpet, saxophone, and trombone sections and can be performed as a section or individually. Includes all the usual optional parts. Correlated to the Jazz at Lincoln Center Jazz for Young People Curriculum. (4:02) This title is available in SmartMusic.
Second Line (Joe Avery Blues): 1st F Horn
Cor (partie séparée)

$3.00 2.56 € Cor (partie séparée) PDF SheetMusicPlus

Jazz Ensemble - Digital Download SKU: AX.00-PC-0014738_BTC1 Baritone T.C.. Arranged by Victor Goines. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0014738_BTC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014738_BTC1). UPC: 654979094272.For the new Jazz For Young People Series, well-known educator and jazz artist Victor Goines arranged Second Line as a medium bright swing. Sometimes called The Joe Avery Blues, this tune dates back to the early New Orleans style and was recorded by the Preservation Hall Jazz Band. For flexibility, solos are provided for the entire trumpet, saxophone, and trombone sections and can be performed as a section or individually. Includes all the usual optional parts. Correlated to the Jazz at Lincoln Center Jazz for Young People Curriculum. (4:02) This title is available in SmartMusic.
Second Line (Joe Avery Blues): Baritone T.C.
Saxhorn / bariton b.c. (partie séparée)

$3.00 2.56 € Saxhorn / bariton b.c. (partie séparée) PDF SheetMusicPlus

Vocal, Solo Solo Voice - Digital Download SKU: H1.804DP Arranged by Don Doig, Jack Schrader, and John F. Wilson. General Worship. Collection. 392 pages. Hope Publishing - Digital #804DP. Published by Hope Publishing - Digital (H1.804DP). By Various Writers.140 Christian songs by Various Writers Contains over 140 songs including: Because He Lives, Communion Song, Great Is Thy Faithfulness, the Holy City, I Wonder as I Wander, Learning to Lean, Malotte's Lord's Prayer, Wedding Song, and The Palms. Contains over 140 songs including: Because He Lives, Communion Song, Great Is Thy Faithfulness, the Holy City, I Wonder as I Wander, Learning to Lean, Malotte's Lord's Prayer, Wedding Song, and The Palms.
Everything for the Church Soloist-Digital Download
Various Writers

140 Christian songs by Various Writers Contains over 140 songs including: Because He Lives, Communion Song, Great Is Thy Faithfulness, the Holy City, I Wonder as I Wander, Learning to Lean, Malotte's Lord's Prayer, Wedding Song, and The Palms
$79.95 68.31 € PDF SheetMusicPlus

Small Ensemble B-Flat Trumpet Solo - Level 1 - Digital Download SKU: A0.752525 Composed by Traditional. Arranged by Hannah Hawken. Celtic,Folk,Irish,Patriotic. Individual part. 3 pages. Hannah Hawken #3464837. Published by Hannah Hawken (A0.752525). Celebrate St Piran's Day, or any other Cornish event, with these three Cornish tunes: Goin' Up Camborne HillSweet NightingaleTrelawnyThey are arranged to be within range for beginner brass players (all between low B and middle D) and are in simple keys so would also be playable by other treble clef solo instruments.Goin' Up Camborne Hill is slighty easier as it is written without a key signature and only goes up to B flat.
Three Cornish Tunes for beginner brass solo (treble clef)
Trompette (partie séparée)

$2.99 2.55 € Trompette (partie séparée) PDF SheetMusicPlus

C Instrument - Level 1 - Digital Download SKU: A0.1515575 By Angelique Kidjo. By Angelique Kidjo and Jean Hebrail. Arranged by Marcelo Borba. Country,Multicultural,Pop,Ska,Traditional,World. Lead Sheet / Fake Book. 3 pages. Marcelo Borba #1089929. Published by Marcelo Borba (A0.1515575). Kelele” is a song by renowned Beninese singer Angélique Kidjo -Leadsheet Style “Kelele” is a song by renowned Beninese singer Angélique Kidjo, featured on her 2021 album Mother Nature. The song reflects Kidjo’s ongoing commitment to promoting social justice, unity, and environmental awareness, blending her powerful voice with vibrant rhythms and captivating messages.In “Kelele,” the word itself means “noise” or “clamor” in many African languages. The song is about making noise, not in the sense of chaos, but in terms of raising one’s voice and raising awareness about injustices and important causes. Angélique Kidjo often uses her platform to address critical social and political issues, and in this song, she calls on people to speak out against corruption, inequality, and climate change.The song’s rhythm is upbeat, combining Afrobeats, electronic elements, and Kidjo’s signature Afro-pop sound. The song’s dynamic energy reflects the urgency of its message: to not remain silent in the face of adversity and to take action for a better world.Within the broader context of Mother Nature, which features collaborations with a number of young African artists, Kelele fits into Kidjo’s mission to pass the torch to the next generation, empowering them to continue the fight for a sustainable, just and inclusive future.Through Kelele, Kidjo encourages a collective call to action and celebrates the power of community to address global challenges.
Kelele
Instruments en Do
Angelique Kidjo
$3.99 3.41 € Instruments en Do PDF SheetMusicPlus

Piano Solo - Level 5 - Digital Download SKU: A0.828227 Composed by John Hatton. Arranged by Paul Thurmond. 20th Century,Baroque,Christian,Sacred. Score. 7 pages. Paul Thurmond #4968929. Published by Paul Thurmond (A0.828227). Tune: DUKE STREETUse: Prelude, PostludeOne Sunday my church was singing Jesus Shall Reign Where’er the Sun as the opening hymn. It’s our tradition that the last stanza of a hymn is sung in unison, so that I as the organist can change the harmonization and keep things interesting. Sometimes I know ahead of time what I’m going to do, and sometimes I make it up on the spot.On this particular morning I planned on being spontaneous. (Can spontaneity be planned?) When we got to the final stanza, I threw on the 16′ pedal reed and went to town.I don’t know if this is the case for all musicians, but while I’m playing my brain is working on several different levels. Most of these are involved in actually playing the music, but there’s also a running commentary on how things are going. This commentary is usually really boring: It’s going okay. It’s going okay. It’s going okay. Sometimes the messages are more interesting: Uh-oh. She just dropped her mute. I missed that chord; remember to circle it when we’re done. My page turner appears to be on fire.So: We’re in the final stanza of Jesus Shall Reign Where’er the Sun. Big, majestic hymn. Over a hundred congregants and choir members are enthusiastically singing in unison. I’m leading them from the organ with an improvised accompaniment that involves all of my limbs. It’s fair to say that I was concentrating hard.Suddenly the commentary part of my brain breaks in: Dude, your feet are totally playing Canon in D. Cool!Canon in D is the most famous work of Johann Pachelbel, a German composer who preceded Bach by a few decades. It’s overused at weddings, but it’s actually a really good piece of music. The original is for three violins and a basso continuo part, which would usually have been played by harpsichord and cello. In this case, the basso continuo plays the same eight measures again and again throughout the piece. This technique of repetition is called a ground bass. While that’s going on, the violins play several different themes on top of it.When I was improvising that Sunday, my feet had accidentally wandered into that ground bass part, which happened to fit nicely with the melody we were singing. During the sermon (sorry Pastor!) I started going through the violin themes in my head, seeing if any of them could also match up with the hymn tune. Some of them worked and some didn’t. I decided to write a sort of theme and variations, where the hymn tune appears in various forms. Sometimes it’s played along with one of the violin themes, and sometimes a violin theme serves as an interlude on its own. And except for one passage, the left hand is always playing some version of the basso continuo theme. I also changed the meter from 4/4 to 3/4 to make it more interesting. It culminates in a climax worthy of a king. I hope you enjoy it.
Jesus Shall Reign Where'er the Sun
Piano seul

$4.99 4.26 € Piano seul PDF SheetMusicPlus

SATB chorus - Digital Download SKU: C7.CGA1116 Composed by Taylor Davis. Palm Sunday. Sacred Anthem. Octavo. 8 pages. Chorister's Guild - Digital #CGA1116. Published by Chorister's Guild - Digital (C7.CGA1116). UPC: 749193012710.Triumphant and bold, this Palm Sunday anthem for mixed voices combines the 19th-century hymn text Ride On! Ride On in Majesty! by Henry Hart Milman with invigorating new music by Taylor Davis. Recurring duplet patterns in both the vocal parts and piano accompaniment create ongoing two-against-three rhythms throughout the anthem written in 6/8 meter. Melodic repetition and mainly unison voicing in the men's vocal part offer choirs with limited rehearsal time the chance to learn the piece quickly and easily.
Ride On!
Chorale SATB

$1.95 1.67 € Chorale SATB 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 3.41 € Chorale TTBB PDF SheetMusicPlus

String Ensemble,String Trio Violin - Level 5 - Digital Download SKU: A0.800316 Composed by Sarah Wallin Huff. Contemporary. Score and parts. 47 pages. Novel Soundtrax #32443. Published by Novel Soundtrax (A0.800316). Appears on Soul of the Machine by Navona Records. Completed in 2011, this complex and experimental work for violin trio consists of three movements: I. Intervallic Structure (Andante con moto) II. Tone and Color (Meno mosso) III. Urban Rhythm (Allegro ma non troppo) Based upon a strict and unvarying formula of patterns that are passed equally between the three violin parts, all three movements utilize this same precise structure of A, B, C, and Ostinato phrases. Each movement, however, while based upon the same formulaic set of patterns, vary by the material of the four phrases themselves; the phrases’ material is each based upon very different scales, depending on the particular movement’s character. Counterpoint Invariable is a successful thought-experiment, turned to driving and evocative emotional artwork, highlighting Wallin Huff's ongoing fascination with the logic of mechanical structure giving way to outward beauty. It is a true, fulfilling reward to perform and explore this work in its entirety.
Counterpoint Invariable
Trio à cordes: 3 violins

$18.00 15.38 € Trio à cordes: 3 violins PDF SheetMusicPlus






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