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Easy Piano - Level 1 - Digital Download SKU: A0.1269012 By Allen Comyns. By B.A. Robertson and John Barry. Arranged by Musik Presse. 20th Century,Film/TV,Lent,Singer/Songwriter,Wedding. Score. 2 pages. Jhavilah #861539. Published by Jhavilah (A0.1269012). The haunting and beautiful score for Somewhere in Time was composed by John Barry, an English composer known for his work on eleven James Bond films. The score is often regarded as one of Barry's most rhapsodic and gorgeous romantic compositions. It features lush orchestration and melodic themes that perfectly capture the film's romantic and timeless atmosphere. Despite the film's small budget, Jane Seymour, who was a personal acquaintance of John Barry and his wife, suggested him to the producers of Somewhere in Time. The producers initially couldn't afford him, but eventually, Barry agreed to compose the score for the film. The soundtrack for Somewhere in Time has become highly regarded among film music enthusiasts. It showcases John Barry's talent for creating emotionally resonant and memorable melodies. The score captures the essence of the film's themes of eternal love, grief, and loss. Overall, Somewhere in Time is a beloved film with a captivating story and a beautiful musical score by John Barry. It has gained a dedicated following over the years and continues to be celebrated for its romantic and timeless qualities..
Somewhere In Time
Piano Facile
Allen Comyns
$4.99 4.31 € Piano Facile PDF SheetMusicPlus

Choral Choir,Choral,SATB Chorus divisi - Level 5 - Digital Download SKU: A0.1487909 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 20th Century,Classical,Jewish. 12 pages. Stanleymhoffman.com #1064840. Published by stanleymhoffman.com (A0.1487909). Composer’s Notes  Anim Zemiros was composed in 1985 while I was a doctoral student of Martin Boykan at Brandeis University. The initial fugal theme was inspired by the melody from the third movement of Beethoven's Quartet in A Minor, Op. 132, also known as Heiliger Dankgesang. My theme resembles Beethoven's melody in two ways: it aurally approximates the rhythms of his theme and it also takes the contour of Beethoven's melody and inverts it, also in an approximated way. This is where the similarities to Beethoven's theme end, forAnim Zemiros is most certainly not composed in the Lydian mode! Rather, it is composed in a chromatically saturated musical language. Although Anim Zemiros may be used for the Jewish Musaf Sabbath Service, it was conceived as a concert piece. In the synagogue, this hymn is sung responsively by the cantor and congregation. The responsive nature of this hymn is what inspired the use of contrapuntal passages alternating with homophonic ones. Anim Zemiros begins with a statement of the initial fugal theme in the basses followed by a response at the interval of a fifth in the altos during which the basses present the counter theme. After a brief episode, the same thing happens in the tenor and soprano voices while the basses and altos present new contrapuntal melodies. A brief, contrasting, calm homophonic chorale passage ensues (a textural foreshadowing of both the loud climax and the hushed closing of the piece). This is followed by an extended development section (like ones from sonata-allegro movements) in which ideas from both the contrapuntal and homophonic sections are fragmented and stratified. Shifting time signatures provide added momentum to this music that leads to the homophonic climax that follows. Next comes an “anti-fugue” in which the initial fugal theme is presented backwards, as is the fugal form itself, moving from four voices, to three and finally to two. However, rather than moving to one voice as at the opening of the piece (which would have been a very predictable thing to do), the piece ends with a reminiscence of the calm homophonic chorale. Ashkenazic pronunciation was chosen over Sephardic for two reasons. I wished to have the s sound on the Hebrew letter sov rather than the t sound. In addition, Ashkenazic pronunciation is considered to be somewhat archaic since Sephardic is used in modern Hebrew. I felt this gave me artistic license to compose vocal lines containing correct or incorrect syllabic stress for purely musical effect. I deemed it necessary to state this at the outset of the score, lest one think that this composition contains errors in text-setting.Ashkenazic Transliteration An-im zemiros veshirim e-erog,Ki eilecho nafshi sa-arog.Naf-shi chimedo betseil yodecho,Loda-as kol roz sodecho,Midei daberi bichevodecho,Ho-me libi el dodecho.Ye-eravno sichi olecho,Ki nafshi sa-arog eilecho.English TranslationI will chant sweet hymns and compose songs,For my soul pants after you.My soul has longed to be beneath the shadow of your hand,To know all of your mysteries.Even while I speak of your glory,My heart yearns for your love.May my meditation be pleasant unto you,For my soul pants after you.
Anim Zemiros
Chorale SATB

$3.00 2.59 € Chorale SATB PDF SheetMusicPlus

Bass Guitar TAB - Level 3 - Digital Download SKU: A0.1502107 By Alabama. By Ed King, Gary Rossington, and Ronnie Van Zant. Arranged by Tracy Dean McCallum. 20th Century,Rock. Score. 6 pages. Tracy Dean McCallum #1077985. Published by Tracy Dean McCallum (A0.1502107). https://tracymccallum.com Lyrics   They got loose to you Here it comes Oh, whoa-whoa Big wheels keep on turnin' Carry me home to see my kin Singin' songs about the Southland I miss Alabamy once again, and I think it's a sin, I said Well, I heard Mr. Young sing about her Well, I heard old Neil put her down Well, I hope Neil Young will remember A Southern man don't need him around, anyhow Sweet home Alabama Where the skies are so blue Sweet home Alabama Lord, I'm comin' home to you One thing I wanna tell you In Birmingham, they love the governor (boo, boo, boo!) Now we all did what we could do Now Watergate does not bother me, uh-uh Does your conscience bother you? Tell the truth Sweet home Alabama Where the skies are so blue Sweet home Alabama (oh, my baby) Lord, I'm comin' home to you (here I come, Alabama) Speak your mind Ah-ah-ah (can you feel that?), Alabama Ah-ah-ah, Alabama Ah-ah-ah, Alabama Ah-ah-ah, Alabama Now Muscle Shoals has got the Swampers And they've been known to pick a song or two (yes, they do) Lord, they get me off so much They pick me up when I'm feelin' blue, now how 'bout you? Sweet home Alabama (oh) Where the skies are so blue Sweet home Alabama Lord, I'm comin' home to you Sweet home Alabama (home, sweet home, baby) Where the skies are so blue (and the governor's, too) Sweet home Alabama (Lord, yeah) Lord, I'm comin' home to you (whoo, whoa, yeah, oh) Alright, brother, now Wait one minute Oh-oh, sweet Alabama Thank you
Sweet Home Alabama
Basse electrique
Alabama
$7.77 6.72 € Basse electrique PDF SheetMusicPlus

Solo Guitar - Level 3 - Digital Download SKU: A0.1444500 By Keith Terrett. By Isaac Manuel Francisco Albéniz y Pascual. Arranged by Keith Terrett. 19th Century,Classical,Contest,Festival,Instructional,Multicultural,World. Individual part. 3 pages. Keith Terrett #1024393. Published by Keith Terrett (A0.1444500). Isaac Manuel Francisco Albéniz y Pascual (Spanish pronunciation: [i?sak al??eni?]; 29 May 1860 – 18 May 1909) was a Spanish virtuoso pianist, composer, and conductor. He is one of the foremost composers of the Post-Romantic era who also had a significant influence on his contemporaries and younger composers. He is best known for his piano works based on Spanish folk music idioms. Isaac Albéniz was close to the Generation of '98.Transcriptions of many of his pieces, such as Asturias (Leyenda), Granada, Sevilla, Cadiz, Córdoba, Cataluña, Mallorca, and Tango in D, are important pieces for classical guitar, though he never composed for the guitar. Some of Albéniz's personal papers are held in the Library of Catalonia.As one of the leading composers of his era, Albéniz's influences on both contemporary composers and on the future of Spanish music are profound. As a result of his extended stay in France and the friendship he formed with numerous composers there, his composition technique and harmonic language influenced aspiring younger composers such as Claude Debussy and Maurice Ravel. His activities as conductor, performer and composer significantly raised the profile of Spanish music abroad and encouraged Spanish music and musicians in his own country.Albéniz's works have become an important part of the repertoire of the classical guitar, many of which have been transcribed by Francisco Tárrega, Miguel Llobet and others. Asturias (Leyenda) in particular is heard most often on the guitar, as are Granada, Sevilla, Cadiz, Cataluña, Córdoba, Mallorca, and Tango in D. Gordon Crosskey and Cuban-born guitarist Manuel Barrueco have both made solo guitar arrangements of all the eight-movements in Suite española. Selections from Iberia have rarely been attempted on solo guitar but have been very effectively performed by guitar ensembles, such as the performance by John Williams and Julian Bream of Iberia's opening Evocation. The Doors incorporated Asturias into their song Spanish Caravan; also, Iron Maiden's To Tame a Land uses the introduction of the piece for the song bridge. More recently, a guitar version of Granada functions as something of a love theme in Woody Allen's 2008 film Vicky Cristina Barcelona.The theme from Asturias was incorporated or adapted in several soundtracks including the 2008 horror film Mirrors, composed by Javier Navarrete, and the Netflix TV show Godless, composed by Carlos Rafael Rivera.In 1997 the Fundación Isaac Albéniz was founded to promote Spanish music and musicians and to act as a research centre for Albéniz and Spanish music in general.A street in Quito, Ecuador, is named after him.
Spanish Guitar Study
Guitare
Keith Terrett
$1.99 1.72 € Guitare PDF SheetMusicPlus






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