Choral Choir (SATB divisi) - Level 1 - Digital Download

SKU: A0.774785

By The Manhattan Transfer. By Michel Paul Fugain and Wayne Shanklin. Arranged by Sandra Milliken. A Cappella. Octavo. 7 pages. Sandra Milliken #6656861. Published by Sandra Milliken (A0.774785).

Chanson d'Amour (sometimes referred to as The Ra-Da-Da-Da-Da Song) is a popular piece written by the American singer, songwriter and producer, Wayne Shanklin. In 1958 Shanklin had suggested the song to a California lounge circuit duo Art and Dotty Todd. They liked the song and produced a demo recording, which was later released as a single by Era Records. 

Then, almost 20 years later, in 1976, the vocal jazz quartet The Manhattan Transfer came across a demo on cassette and decided to record a remake of Chanson d'Amour for their Coming Out album. The track featured Janis Siegel singing lead with an Edith Piaf sound.

Whilst overlooked in the United States in its single release, Manhattan Transfer's version became a hit across Europe in Germany, the Netherlands, France, Norway and Switzerland. In the English-speaking world it was a chart topper in the UK and Ireland as well as in Australia, New Zealand and South Africa.

The song had become Manhattan Transfer's most widespread international success.

This arrangement is available in six choral versions – SA, SSA, SSAA, SSATB with piano and SSAA, SSATB a cappella

SSAA choir and piano (SSAA) - Level 1 - Digital Download

SKU: A0.774783

By The Manhattan Transfer. By Michel Paul Fugain and Wayne Shanklin. Arranged by Sandra Milliken. Octavo. 7 pages. Sandra Milliken #6656857. Published by Sandra Milliken (A0.774783).

Chanson d'Amour (sometimes referred to as The Ra-Da-Da-Da-Da Song) is a popular piece written by the American singer, songwriter and producer, Wayne Shanklin. In 1958 Shanklin had suggested the song to a California lounge circuit duo Art and Dotty Todd. They liked the song and produced a demo recording, which was later released as a single by Era Records. 

Then, almost 20 years later, in 1976, the vocal jazz quartet The Manhattan Transfer came across a demo on cassette and decided to record a remake of Chanson d'Amour for their Coming Out album. The track featured Janis Siegel singing lead with an Edith Piaf sound.

Whilst overlooked in the United States in its single release, Manhattan Transfer's version became a hit across Europe in Germany, the Netherlands, France, Norway and Switzerland. In the English-speaking world it was a chart topper in the UK and Ireland as well as in Australia, New Zealand and South Africa.

The song had become Manhattan Transfer's most widespread international success.

This arrangement is available in six choral versions – SA, SSA, SSAA, SSATB with piano and SSAA, SSATB a cappella

Woodwind Ensemble Flute - Level 1 - Digital Download

SKU: A0.774779

By The Manhattan Transfer. By Michel Paul Fugain and Wayne Shanklin. Arranged by Sandra Milliken. Contemporary. 10 pages. Sandra Milliken #6642787. Published by Sandra Milliken (A0.774779).

Chanson d'Amour (sometimes referred to as The Ra-Da-Da-Da-Da Song) is a popular piece written by the American singer, songwriter and producer, Wayne Shanklin. In 1958 Shanklin had suggested the song to a California lounge circuit duo Art and Dotty Todd. They liked the song and produced a demo recording, which was later released as a single by Era Records. 

Then, almost 20 years later, in 1976, the vocal jazz quartet The Manhattan Transfer came across a demo on cassette and decided to record a remake of Chanson d'Amour for their Coming Out album. The track featured Janis Siegel singing lead with an Edith Piaf sound.

Whilst overlooked in the United States in its single release, Manhattan Transfer's version became a hit across Europe in Germany, the Netherlands, France, Norway and Switzerland. In the English-speaking world it was a chart topper in the UK and Ireland as well as in Australia, New Zealand and South Africa.

The song had become Manhattan Transfer's most widespread international success.

This arrangement is also available for saxophone quintet and string ensemble. 

Choral SA chorus and piano (SA) - Level 1 - Digital Download

SKU: A0.774781

By The Manhattan Transfer. By Michel Paul Fugain and Wayne Shanklin. Arranged by Sandra Milliken. Octavo. 5 pages. Sandra Milliken #6656849. Published by Sandra Milliken (A0.774781).

Chanson d'Amour (sometimes referred to as The Ra-Da-Da-Da-Da Song) is a popular piece written by the American singer, songwriter and producer, Wayne Shanklin. In 1958 Shanklin had suggested the song to a California lounge circuit duo Art and Dotty Todd. They liked the song and produced a demo recording, which was later released as a single by Era Records. 

Then, almost 20 years later, in 1976, the vocal jazz quartet The Manhattan Transfer came across a demo on cassette and decided to record a remake of Chanson d'Amour for their Coming Out album. The track featured Janis Siegel singing lead with an Edith Piaf sound.

Whilst overlooked in the United States in its single release, Manhattan Transfer's version became a hit across Europe in Germany, the Netherlands, France, Norway and Switzerland. In the English-speaking world it was a chart topper in the UK and Ireland as well as in Australia, New Zealand and South Africa.

The song had become Manhattan Transfer's most widespread international success.

This arrangement, with piano accompaniment, is available in four choral versions – SA, SSA, SSAA, SSATB

Woodwind Ensemble,Woodwind Quintet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Digital Download

SKU: A0.774780

By The Manhattan Transfer. By Michel Paul Fugain and Wayne Shanklin. Arranged by Sandra Milliken. Contemporary. 10 pages. Sandra Milliken #6645909. Published by Sandra Milliken (A0.774780).

Chanson d'Amour (sometimes referred to as The Ra-Da-Da-Da-Da Song) is a popular piece written by the American singer, songwriter and producer, Wayne Shanklin. In 1958 Shanklin had suggested the song to a California lounge circuit duo Art and Dotty Todd. They liked the song and produced a demo recording, which was later released as a single by Era Records. 

Then, almost 20 years later, in 1976, the vocal jazz quartet The Manhattan Transfer came across a demo on cassette and decided to record a remake of Chanson d'Amour for their Coming Out album. The track featured Janis Siegel singing lead with an Edith Piaf sound.

Whilst overlooked in the United States in its single release, Manhattan Transfer's version became a hit across Europe in Germany, the Netherlands, France, Norway and Switzerland. In the English-speaking world it was a chart topper in the UK and Ireland as well as in Australia, New Zealand and South Africa.

The song had become Manhattan Transfer's most widespread international success.

This arrangement is also available for flute choir and string ensemble.

Piano Solo - Advanced Intermediate - Digital Download By The Moody Blues. Arranged by Christine Brown. Sheet Music Single. 7 pages. Published by Christine Brown

Piano Solo - Intermediate - Digital Download By Cyndi Lauper. Arranged by Christine Brown. Sheet Music Single. 7 pages. Published by Christine Brown

Piano Solo - Advanced Intermediate - Digital Download By Queen. Arranged by Christine Brown. Sheet Music Single. 5 pages. Published by Christine Brown

Piano Solo - Intermediate - Digital Download By OneRepublic. Arranged by Christine Brown. Sheet Music Single. 5 pages. Published by Christine Brown

Piano Solo - Intermediate - Digital Download By Lady Gaga. Arranged by Christine Brown. Sheet Music Single. 6 pages. Published by Christine Brown

Choral Choir (SATB) - Level 3 - Digital Download

SKU: A0.986785

By Brandi Carlile. By Phil Hanseroth. Arranged by Felix Linsmeier. A Cappella,Film/TV,Pop,Rock,Wedding. Octavo. 9 pages. Felix Linsmeier #592452. Published by Felix Linsmeier (A0.986785).

The Story is a song released as a single by American folk rock singer Brandi Carlile, written by Phil Hanseroth, from her 2007 album The Story. It was featured in Grey's Anatomy in 2007 and is on Grey's Anatomy Soundtrack album 3 (released September 11). About four years later, a version of the song has been recorded by Grey's Anatomy actress Sara Ramirez and was first presented in the 2011 episode Song Beneath the Song. The track was later covered by LeAnn Rimes for her Remnants album and by Dolly Parton for the charity tribute album Cover Stories. This arrangement for SATB choir and piano is based on Brandie Carliles recording and features some fine tenor solos as well as rich tutti harmonies which all work fine for young and/or intermediate singers. The piano part can also be extended for a rock band.

Piano,Vocal,Voice - Level 4 - Digital Download

SKU: A0.1370002

Composed by Kevin G. Pace (ASCAP), Kathryn W. Hales. Children,Christian,Praise & Worship,Religious,Sacred. Score. 6 pages. Kevin G. Pace #954376. Published by Kevin G. Pace (A0.1370002).

A children's song, telling the story of the sons of Mosiah from the Book of Mormon, Another Testament of Christ.  Music by Kevin G. Pace.  Text by Kathryn W. Hales.

Text:
The Lord told King Mosiah to let his sons go away,
To the land of Nephi where for many years they'd stay.
They wanted to preach the gospel in the Lord's ministry,
To the sinful, wicked Lamanites who were their enemies.

Now one of the sons was Ammon who had been a rebellious youth,
But after Alma's change of heart, he wanted to know the truth.
He became Lamoni's servant, watching over the king's sheep,
He beat some robbers who came to steal, leaving a pile of arms at his feet.

Then he taught King Lamoni the true source of his strength and might,
That the king should change his ways, repent and do what's right.
Lamoni believed what Ammon taught and all his people too,
They became so very righteous because God's promises are true.

Aaron was another son of Nephite King Mosiah,
He taught of the Creation, of the Fall and God's Son who would die
To save all men from death and sin, yea, Jesus, the Holy One,
Who would come to earth at some future day to save each and ev'ry one.

Omni and his brother Himnor were also Mosiah's sons,
But not much is recorded about their missions.
But they were faithful servants during all their trial filled days,
They taught many people how to walk in God's own chosen way.

Chorus:
I want to be like Mosiah's sons and share God's holy word.
I can be a missionary, a servant of the Lord.
I can be so very courageous, I can the gospel teach,
That all may know God's holy grace is within their loving reach.

Choir Sacred Instrumental Ensemble - Digital Download

SKU: JX.00-32354

Composed by Pepper Choplin. This edition: InstruPax. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Alfred Church Choral Series. Sacred. Part(s). 26 pages. Jubilate Music Group - Digital #00-32354. Published by Jubilate Music Group - Digital (JX.00-32354).

English.

A joyful, toe-tapping rouser, Blessings Over Me is a sure winner! You will love it, your choir will love it, your congregation will love it; maybe even your pastor will love it! It won't take long to prepare, but it offers years of happy returns on the investment. Blessings will flow.

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!

Organ - advanced - Digital Download

SKU: S9.Q45183

Martin Luther. Composed by Enjott Schneider. This edition: Sheet music. Downloadable. Duration 24 minutes. Schott Music - Digital #Q45183. Published by Schott Music - Digital (S9.Q45183).

On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther. The composer describes the five movements of the symphony as follows: '1st movement: Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people. 2nd movement: In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time. 3rd movement: The omnipresence of death and dying – from the plague and war to the never-ending dangers of daily life – was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air. 4th movement: The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air. 5th movement: The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'.