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Soprano voice,Vocal Solo - Level 5 - Digital Download

SKU: A0.1303524

By Richard Wagner. By Richard Wagner. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Opera,Romantic Period. 5 pages. Nicole Elyse DiPaolo #893099. Published by Nicole Elyse DiPaolo (A0.1303524).

The first of its kind, this is a genuinely playable piano/vocal reduction of O Sachs! Mein Freund!, Eva's aria from Richard Wagner's Die Meistersinger von Nurnberg. Dramatic sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist is unlikely to know this aria and may become rattled by the chaotic piano reductions in the currently available vocal scores. Pianists with limited practice time may now enjoy playing this aria comfortably as well.

Because vocal line/orchestral doublings are characteristic of Wagner, those have been preserved in this edition.


All Accessible Accompaniments, including this one, boast several unique features:
1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged” with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.

2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim” accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.

3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.

4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.

5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.

6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “ß” with “ss” in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.

O Sachs! Mein Freund! (Eva's Aria) from Die Meistersinger - Accessible Accompaniments Edition
Voix Soprano, Piano
Richard Wagner
$8.95 8.51 € Voix Soprano, Piano PDF SheetMusicPlus

Bass Guitar TAB - Level 3 - Digital Download

SKU: A0.1435306

By The Romantics. By James Marinos, Michael Skill, and Wally Palamarchuk. Arranged by Jared Plane. Pop,Rock. Score. 5 pages. Jared Plane #1015395. Published by Jared Plane (A0.1435306).

Rich Cole's original bass line as played to The Romantics song, What I Like About You from the 1980 self-titled album, The Romantics. This line is a very active bass line with many subtle variations on the main bass groove by Rich Cole. I recommend beginner-level students play and loop measures 9 through 12 throughout the Verse and Chorus sections and switch to the Pre-Solo groove when appropriate. This PDF download comes with both Standard Notation, bass TAB and chord symbols.

What I Like About You
Basse electrique
The Romantics
$5.00 4.76 € Basse electrique PDF SheetMusicPlus

Alto Voice,Vocal Solo - Level 5 - Digital Download

SKU: A0.799612

Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 6 pages. Nicole Elyse DiPaolo #5022023. Published by Nicole Elyse DiPaolo (A0.799612).

The first of its kind, and the third entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of Wie Du warst, Octavian's famous aria from Strauss's Der Rosenkavalier (1911). Mezzos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury. This edition also includes a two-measure recomposed ending four measures after rehearsal 25, making this edition a great choice for concert and audition situations in which another singer isn't available to sing the Marschallin's lines.

All Accessible Accompaniments, including this one, boast several unique features:

1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or fudged with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.

2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a sink or swim accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.

3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.

4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.

5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.

6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.

About the Arranger: 

Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. 
For more information, please visit http://ndipaolo.musicaneo.com .

Wie Du warst (Octavian's Aria) from Der Rosenkavalier - Accessible Accompaniments Edition
Voix Alto, Piano

$8.95 8.51 € Voix Alto, Piano PDF SheetMusicPlus

Soprano voice,Vocal Solo - Level 5 - Digital Download

SKU: A0.799613

Composed by Richard Strauss. Arranged by Nicole Elyse DiPaolo. 20th Century,Romantic Period. 17 pages. Nicole Elyse DiPaolo #5022029. Published by Nicole Elyse DiPaolo (A0.799613).

The first of its kind, and the sixth entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of Grossmächtige Prinzessin, Zerbinetta's famous aria from Strauss's Ariadne auf Naxos (second version, 1916). Coloratura sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and sometimes unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury.

This aria is also available to purchase in smaller sections, as commonly offered in auditions, at reduced prices. They include a score beginning at Noch glaub' ich and one beginning at So war es mit Pagliazzo. To see previews of those sections within the aria, please visit their respective SheetMusicPlus pages. The edition you are viewing here is the complete aria, covering rehearsal nos. 100-130.

All Accessible Accompaniments, including this one, boast several unique features:

1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or fudged with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.

2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a sink or swim accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.

3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.

4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.

5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.

6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.

About the Arranger: 

Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. 
For more information, please visit http://ndipaolo.musicaneo.com .

Grossmächtige Prinzessin (Zerbinetta's Aria, Complete) from Ariadne auf Naxos - Accessible Accompan
Voix Soprano, Piano

$13.95 13.27 € Voix Soprano, Piano PDF SheetMusicPlus

Soprano voice,Vocal Solo - Level 5 - Digital Download

SKU: A0.799606

Composed by Ruggiero Leoncavallo. Arranged by Nicole Elyse DiPaolo. Romantic Period. 6 pages. Nicole Elyse DiPaolo #3420731. Published by Nicole Elyse DiPaolo (A0.799606).

The first of its kind, and the seventh entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and slightly simplified piano/vocal reduction of Stridono lassù, Nedda's famous aria from Leoncavallo's Pagliacci. Sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic, poorly notated, and technically demanding vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury by trying to play the harp lines that nobody can hear anyway!

All Accessible Accompaniments, including this one, boast several unique features:

1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or fudged with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.

2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a sink or swim accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.

3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.

4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.

5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.

6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing ß with ss in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.

About the Arranger: 

Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. 
For more information, please visit http://ndipaolo.musicaneo.com .

Qual fiamma...Stridono lassù (Nedda's Aria) from Pagliacci - Accessible Accompaniments Edition
Voix Soprano, Piano

$8.95 8.51 € Voix Soprano, Piano PDF SheetMusicPlus

Baritone Horn TC,Vocal Solo,Voice - Level 5 - Digital Download

SKU: A0.1176334

Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. 19th Century,Classical,Opera,Romantic Period. 13 pages. Nicole Elyse DiPaolo #776458. Published by Nicole Elyse DiPaolo (A0.1176334).

The first of its kind, this is a genuinely playable piano/vocal reduction of Largo al factotum,” the show-stopping first aria from Gioachino Rossini’s famous opera Il barbiere di Siviglia (The Barber of Seville). Most reductions of this aria pose a physical hazard to audition and other collaborative pianists who risk injury by trying to grab every fast repeated note and chord in this extremely long aria, nor do the repeated notes tend to come out properly or sound right on pianos compared to the string instruments for which they were written. With this reduction—which was specifically created to be more ergonomic at the piano and safer to get through on long audition-playing days—pianists may now enjoy playing this aria comfortably, without risking strain/injury. However, it’ll still be a tour de force for the baritone!

Note that this score does not make any cuts to the aria; therefore, it is also suitable for recital settings without time limits.

All Accessible Accompaniments, including this one, boast several unique features:

1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged” with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.

2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim” accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.
 
3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.

4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. 

5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.
 
6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “ß” with “ss” in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity. I’ve also replaced some text “cresc.” and “dim.” markings with hairpins, which are easier to see in high-pressure sight-reading situations.

About the Arranger:

Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. 
For more information, please visit http://ndipaolo.musicaneo.com .

Largo al factotum (Figaro's aria) from Il barbiere di Siviglia - Accessible Accompaniments Edition
Voix Baryton, Piano

$8.95 8.51 € Voix Baryton, Piano PDF SheetMusicPlus

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 1 - Digital Download

SKU: A0.1402823

Composed by Daniel Alomia Robles, Jorge Milchberg, and Paul Simon. Arranged by Alan Frazer (arranger) & Peet du Toit (orchestrator). Folk. 10 pages. Peet du Toit #986049. Published by Peet du Toit (A0.1402823).

This song started out as an Andean folk melody that Paul Simon came across in 1969 when he played a week-long engagement at a theater in Paris along with the South American group Los Incas, who played an instrumental version of the song called Paso Del Condor. Said Simon: I used to hang around every night to hear them play that. I loved it and I would play it all the time, and then I thought, Let's put words to it.
The Peruvian songwriter Daniel Robles recorded this song in 1913, and copyrighted it in the United States in 1933 during his travels in America. When Simon recorded it with his added lyrics, he thought it was a traditional song, as that's what Los Incas told him. When Robles' son filed a lawsuit, Simon had to give Robles a composer credit on the song, with his estate getting those royalties.

In discussing the song, Simon always talks about it as being based on a traditional Peruvian song, and we've never heard him mention Robles. This wasn't the first time Simon got tangled over songwriting credits on traditional melodies: Simon & Garfunkel's Scarborough Fair / Canticle was based on a folk song, but his arrangement came from a singer named Martin Carthy. Simon was always clear on his influences, but legal misunderstandings were a problem in these cases.
Los Incas, who were the group that introduced Simon to the song, provided the instrumentation when they recorded it in Paris with Simon. Their leader, Jorge Milchberg, played a charango, which is an Andean string instrument made from the shell of an armadillo. Simon played acoustic guitar, and other members of Los Incas played flutes and percussion. When Simon brought the track to America, he added his lyrics. This was one of the easier songs to record for the Bridge Over Troubled Water album, since the backing track was already mixed together - it was just a matter of adding the vocals.
The title translates to English as The Condor Passes. The lyrics Robles wrote to the song in 1913 are about returning home to his native Peru.
Los Incas leader Jorge Milchberg got a composer credit on this song along with Simon and Robles. Milchberg later became the head of the group Urubamba and remained friends with Simon, who toured with them and produced their first American album. >>
The Wainwright Sisters covered this for their 2015 Songs in the Dark album. Lucy Wainwright Roche explained to The Sun: I chose 'El Condor Pasa' because it was one of the first songs I ever learned to play on it guitar and it has a childlike quality to it, but it also has a darkness and sadness that fit in well with the album.
Paul Simon performed this on both Sesame Street (in 1977) and The Muppet Show (in 1980).

El Condor Pasa (If I Could)
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba

$15.00 14.27 € Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba PDF SheetMusicPlus

Bass Guitar - Level 3 - Digital Download

SKU: A0.1035485

Composed by William James Barnes. Arranged by Daniel Roberts. New Age,Rock. Score. 1 pages. Daniel P Roberts #640699. Published by Daniel P Roberts (A0.1035485).

Car Seat Headrest, It's Only Sex note for note bass transcription 4 string bass with TAB. The other night I cried while thinking of having sex with you Not out of desire or shame but some subconscious impulse to feel pain I wiped my tears on my face and neck and the backs of my ears And said, Now it's sweat, now it's sweat, it's sweat now Just to see you It's such a treasure But when I feel you My flesh yields no pleasure And honey I'm cultured I'm very sex positive So what is this feeling? It ain't so positive I can't tell you if I like it, I like it What happens if I don't like it? I like it I can't tell you if I like it, I like it What happens if I don't like it? It's only OK, so I've been reading all the sex blogs And they all talk about how OK it is to be gay And straight and bisexual and asexual And have sex however you like But I don't care about hundreds of hypothetical people And their hypothetical sex deals I care about me, and my sex deal! What about my problems? Baby, my body Constantly betrays me I try to betray it I only hurt myself Yeah, yeah I can't tell you if I like it, I like it What happens if I don't like it? I like it I can't tell you if I like it, I like it What happens if I don't like it? It's only- It's only sex It's only It's only sex C'mon, sexual desire, speak! I want to hold you tight I want to feel your love physically I want to sleep with you But only in the literal sense I can't tell you if I like it, I like it What happens if I don't like it? I like you I can't tell you if I like it, I like it What happens if I don't like it? It's only- I can't tell you if I like it, I like it What happens if I don't like it? I like it I can't tell you if I like it, I like it What happens if I don't like it? It's only- It's only sex (it's only sex) It's only- It's only sex (no, it's not) It's only sex It's only- It's only sex It's only sex It's only-.

It's Only Sex
Basse electrique

$4.99 4.75 € Basse electrique PDF SheetMusicPlus

Piano,Vocal,Voice - Level 2 - Digital Download

SKU: A0.779670

Composed by Arthur Le Clerq. Arranged by Kim Kirkman. Broadway,Contemporary,Musical/Show,Traditional. Score. 4 pages. Kim Kirkman #6697499. Published by Kim Kirkman (A0.779670).

This is a wonderful old comedy song.
I have put it into the key that Tessie O'Shea sings it (Ab major)
I have put in the first verse that Tessie sings, plus the spoken part. I have changed some of the words of the spoken part to update them.
I have then constructed a third verse from other verses that Le Clerq wrote. To sing it exactly like Tessie please repeat first verse.

Words:
Verse:
For years a fairy queen I've bin', For years I foiled the demon king.
But alas, I'm getting on, The years have flown somehow,
And I feel that Fairy Snowdrop isn't wanted now.

Chorus One:
Nobody loves a fairy when she's forty.
Nobody loves a fairy when she's old.
She may still have her magic power, But that is not enough,
They like their bit of magic from a younger bit of fluff.
When once your silver star has lost its glitter,
And your tinsel looks like rust instead of gold.
Your fairy days are ending when your wand has started bending.
Noone loves a fairy when she's old.

Spoken:
T'was I who found the magic wand, I will not tell you where.
T'was I who found young Tinkerbell, her head was full of air
I’ve been a fairy of the flowers, and fairy daffodils,
I’ve been a fairy of the wind, and suffer from it still!
In certain covered valley hills I go down to the glen
Been loved by all the children and run after by the men. Huh!
Noone could touch me at me splits, me splits were all the rage,
Until the night woodman left his chopper on the stage, what a mess!

Verse 2:
Nobody loves a fairy when she's forty.
Nobody loves a fairy when she's old.
As far as I can see they try to push you off the map,
When once your wand has withered and your wings refuse to flap.
When you have lost your little fairy dimples,
And the mothholes in your dress let in the cold,
It seems that they would sooner listen to a blinkin' crooner,
Noone loves a fai-y when she's old!

Nobody Loves a Fairy When She's Forty sung by Tessie O'Shea (low key)
Piano, Voix

$1.99 1.89 € Piano, Voix PDF SheetMusicPlus

Tenor voice solo, SATB choir unaccompanied - Moderately Difficult - Digital Download

SKU: MQ.8322-E

Composed by David Conte. Advanced/Collegiate. Secular, 21st Century, Americana, Children, Creation/Nature, Hope/Assurance. Instrument part. 15 pages. Duration 5 minutes, 42 seconds. E. C. Schirmer Music Company - Digital #8322-E. Published by E. C. Schirmer Music Company - Digital (MQ.8322-E).

UPC: 600313483226. English.

The three a cappella choral pieces that comprise “A Whitman Triptych” were composed between 2012 and 2014. O Setting Sun was commissioned by the Madison Chamber Choir, Madison, Wisconsin, Anthony Cao, conductor, and was premiered on April 20th, 2012. “What is the Grass” was composed for Cappella SF, Ragnar Bohlin, conductor, and is being premiered on tonight’s concert. Facing West was commissioned in celebration of the 75th anniversary of the Golden Gate Bridge by the International Orange Chorale, Zane Fiala, conductor, and was premiered on May 27th, 2012.

I first set Whitman to music in 1986,when I adapted part of “When Lilacs Last in the Dooryard Bloomed” as the basis for my composition “Invocation and Dance.” I went on to set “Good-Bye, My Fancy” for Male Chorus and Soprano Saxophone in 1992, and “Song of the Open Road” for Mixed Chorus and Piano in 2004. Like so many composers, I have found the visionary quality of Whitman’s verse inspiring; the vigor and intensity of the poetry seem naturally to draw out music.

“What is the Grass?” is also an adaptation of a much longer poem, one of Whitman’s deepest, and most mysterious. The poem begins as a child-like meditation on grass; as hope, as an embodiment of new life and new growth in the plant world. Then suddenly there is a somber turn with the line “And now it seems to me the beautiful uncut hair of graves.” Here Whitman enters an extended mediation on how grass connects life and death, informed by his experiences in the Civil War. Hope returns with the line: “They are alive and well somewhere,” leading to the mysterious final line: “And to die is different from what anyone supposed, and luckier…” Here Whitman affirms that death can be an initiation into a broader participation of existence. In the words of poet Ivan M. Granger, Whitman offers a “Zen-like riddle that doesn’t offer an answer so much as a pathway of questioning.”

My musical setting follows Whitman’s exploration, first taking a child’s point of view, expressed with lilting melodies set in a lively compound meter. The entry of the tenor soloist indicates a change of mood to the serious. The first mood returns, leading to a climax on the words “And led forward life…”, set in 9-part harmony. The mood turns reverent, as the tenor soloist intones: “All goes onward and outward; nothing collapses.” The piece ends with a tone of gentle, slightly ironic questioning. -David Conte

Duration: 5:42
A Whitman Triptych: II. What Is the Grass? (Downloadable)
$2.85 2.71 € PDF SheetMusicPlus

Voice Duet Piano,Vocal,Voice - Level 3 - Digital Download

SKU: A0.779671

Composed by Arthur Le Clerq. Arranged by Kim Kirkman. Broadway,Contemporary,Musical/Show,Traditional. Score. 4 pages. Kim Kirkman #6697501. Published by Kim Kirkman (A0.779671).

This is a wonderful old comedy song.
This is in C major - the high key for sopranos
I have put in the first verse that Tessie sings, plus the spoken part. I have changed some of the words of the spoken part to update them.
I have then constructed a third verse from other verses that Le Clerq wrote. To sing it exactly like Tessie please repeat first verse.

Words:
Verse:
For years a fairy queen I've bin', For years I foiled the demon king.
But alas, I'm getting on, The years have flown somehow,
And I feel that Fairy Snowdrop isn't wanted now.

Chorus One:
Nobody loves a fairy when she's forty.
Nobody loves a fairy when she's old.
She may still have her magic power, But that is not enough,
They like their bit of magic from a younger bit of fluff.
When once your silver star has lost its glitter,
And your tinsel looks like rust instead of gold.
Your fairy days are ending when your wand has started bending.
Noone loves a fairy when she's old.

Spoken:
T'was I who found the magic wand, I will not tell you where.
T'was I who found young Tinkerbell, her head was full of air
I’ve been a fairy of the flowers, and fairy daffodils,
I’ve been a fairy of the wind, and suffer from it still!
In certain covered valley hills I go down to the glen
Been loved by all the children and run after by the men. Huh!
Noone could touch me at me splits, me splits were all the rage,
Until the night woodman left his chopper on the stage, what a mess!

Verse 2:
Nobody loves a fairy when she's forty.
Nobody loves a fairy when she's old.
As far as I can see they try to push you off the map,
When once your wand has withered and your wings refuse to flap.
When you have lost your little fairy dimples,
And the mothholes in your dress let in the cold,
It seems that they would sooner listen to a blinkin' crooner,
Noone loves a fai-y when she's old!

Nobody Love a Fairy When She's Forty - in C major (soprano key)

$1.99 1.89 € PDF SheetMusicPlus

Choral Choir (SATB) - Level 4 - Digital Download

SKU: A0.1030607

Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Praise & Worship,Sacred,Spiritual. Octavo. 8 pages. Kevin G. Pace #635996. Published by Kevin G. Pace (A0.1030607).

A beautiful, sacred vocal solo with music by Kevin G. Pace and text by Mary Ann W. Snowball. Text: When will He rescue me? I wonder. When will Christ set me free? Will I be ready and waiting? Will I fall to my worshipful knees? Or will my impoverished spirt feel this is how life ere will be? When will He rescue Me? I wonder. When will He rescue me? What will He say to me? I wonder. Will He look in my eyes? Will He remember my pleadings and emotions on days when I cried? Oh, will his assistance sustain me? And does my faith reach to his sky? When will He rescue Me? I wonder. When will He rescue me? How will I feel that day? I wonder. What will my future be? Will there be instant rejoicing? Will his love conquer my poverty? Oh, can I depend on his mercy? Will God’s realm of heaven have me? When will He rescue Me? I wonder. When will He rescue me? What will that day be like, I wonder, when Christ will rescue me? When I am ready and waiting, I will fall to my worshipful knees, Then stand by his scarred side in heaven, and thank Him for rescuing me. Christ's love has rescued me, oh wonder! Christ's love has rescued me.

When Will He Rescue Me? sacred music for vocal solo
Chorale SATB

$3.99 3.8 € Chorale SATB PDF SheetMusicPlus

Piano,Voice Duet Piano,Voice - Level 3 - Digital Download

SKU: A0.984013

Composed by Steven H. Boothe. Arranged by Ashley Ivers. Christian,Pop. 6 pages. Boothe Publishing #4360965. Published by Boothe Publishing (A0.984013).

One of my auntie's got killed coming home from work late one evening by a drunk driver who was not obeying the traffic signals. I remember thinking to myself that this wasn't fair. It wasn't right. This was the first time that someone close to me was ushered out of this world. I started looking at my own life. Was I ready to leave this world behind? My auntie didn't get to decide. One moment she was here. The next she was gone, leaving her children behind. As I looked at myself I noticed there were a lot of flaws in my character. I liked some things about myself, however, there were a lot of other character traits where I felt that I was lacking in integrity and honesty. The question, What am I doing here? made me want to correct those flaws so that I could feel good about meeting God when I leave this world. I have found that change is possible.

What am I Doing Here PVG
Voix duo, Piano

$3.99 3.8 € Voix duo, Piano PDF SheetMusicPlus


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