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9976
A Ceremony of Lessons and Carols - Instrumental Ensemble Score and Parts
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Orchestre
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Noël
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Jean Anne Shafferman and Anna
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A Ceremony of Lessons and Caro
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SheetMusicPlus
Percussion, Electronic Keyboard, Handbell 3 octaves - A Simple Service for Choir and Congregation. Composed by Jean Anne Shafferman and Anna Laura P...
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Percussion, Electronic Keyboard, Handbell 3 octaves - A Simple Service for Choir and Congregation. Composed by Jean Anne Shafferman and Anna Laura Page. Choral Cantatas. Christmas. Instrumental Ensemble Score and Parts. 206 pages. Lorenz Publishing Company #30/2591L. Published by Lorenz Publishing Company
Orchestration: Lloyd Larson.
Filled with charm and warmth, this traditional service is thoughtfully designed for performance by choirs of all sizes with a minimum of preparation and cost. Beloved traditional scripture readings are tightly interwoven with twenty-six carols that include just a touch of Handel and Bach! A continuous flow of carols both accompanies the scripture readings and flows seamlessly into simple arrangements for choir, choir with vocal solo or duet, and choir with congregation. One unique feature is an optional four-hand piano score that adds budget-friendly sparkle! Another welcome option is a simple handbell and percussion score with synth strings and two-hand piano. Flexibly conceived, this program can be performed in its entirety, lasting approximately 30-35 minutes, or shortened to conform to your particular Christmas needs.
$179.95
Destiny For A New
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Orchestre
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AVANCÉ
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Contemporain
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Joshua A
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Destiny For A New
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Joshua A. Idio
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SheetMusicPlus
Full Orchestra - Advanced - Composed by Joshua A. Idio. 21st Century, 20th Century, Romantic Period, Contemporary Classical, Repertoire. Score, Set ...
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Full Orchestra - Advanced - Composed by Joshua A. Idio. 21st Century, 20th Century, Romantic Period, Contemporary Classical, Repertoire. Score, Set of Parts. 85 pages. Published by Joshua A. Idio
Composed by Joshua A. Idio. (ASCAP Licensed) Orchestral Music. Concert Opener music. Full score and parts.
Symphony Orchestra - Grade 5
Motivational and Exhilarating! This grand ?movie-esque? scoring sends the audience through a heart-pounding epiphany of song and soul. With its use of moving melodies, surprising rhythms, and evocative instrumentation, the courage to take on the world has never felt more achievable. The inspiring begins now!
$125.00
Scheherazade - I. The Sea and Sinbad's Ship - Pick-A-Part Arrangement for String Orchestra
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Orchestre à Cordes
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Contemporain
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Nikolay Andreyevich Rimsky-Kor
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Grant Gilman
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Scheherazade - I. The Sea and
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Dr. Grant Gilman
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SheetMusicPlus
String Orchestra - Level 4 - SKU: A0.799741 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by Grant Gilman. 20th Century,Romantic Period. Sco...
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String Orchestra - Level 4 - SKU: A0.799741 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by Grant Gilman. 20th Century,Romantic Period. Score and parts. 147 pages. Dr. Grant Gilman #3511981. Published by Dr. Grant Gilman (A0.799741). Nikolai Rimsky-Korsakov Scheherazade - I. The Sea and Sinbad’s Ship Pick-A-Part Arrangement for String Orchestra by Dr. Grant Gilman String Orchestra Parts in This Pick-A-Part Arrangement Violin 1A Violin 1B Violin 1C Violin 2A Violin 2B Violin 2C Viola A Viola B Viola C Cello A Cello B Cello C Bass A Bass B Bass C Harp/Keyboard (optional)About Pick-A-Part Arrangement This arrangement system employs simultaneous, multi-level difficulty parts for each string section. The goal is to accommodate all levels of playing in the preparation and performance of a symphonic masterwork. In this arrangement, there are 3 difficulty levels for each individual string section, labeled A, B, and C, respectively. Each level is a decreasing level of technical and musical difficulty, level A being the highest level of difficulty. The A level is close to, if not exactly the same as, the original string part, plus the integration of wind parts when applicable. B and C follow in a proportional reduction of difficulty level. For this solution to be most effective, some students should be encouraged to play the most challenging parts simultaneously with those playing the simpler parts. This presents the opportunity to participate in a performance that includes most of the original material. The B and C parts cover enough of the surface material while maintaining a modicum of independence from the A part. In other words, the B and C parts are able to hold their own in performance without the A parts. For example, let’s say you have a couple of talented violinists and a few more that are well below their playing level, only two violists that need a great deal of help, a plethora of cellists with a wide range of abilities, and one single bass player that is a beginner. Your distribution of parts may look something like this: Violin 1 - two on Violin 1A, one on Violin 1C, and the rest on Violin 1B Violin 2 - one on Violin 2B, the rest on Violin 2C Viola - both on Viola C Cello - three on Cello A, one on Cello B, and the rest on Cello C Bass - one on Bass C This potential setup will challenge each player at their current level of development while creating the context for a moving experience with a major orchestral work. A Note about the Score and Printing The full score is designed to be printed in portrait orientation on 17x11 tabloid size paper. Even at this size, the score can be confusing to read, especially if you are not covering every difficulty level part. If you would like a custom score showing only the parts you are using, please email me: conductor@grantgilman.com. I will be happy to work with you!www.grantgilman.comwww.americanmusepodcast.com
$29.99
Rondo in A minor for Viola and Orchestra
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Orchestre
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AVANCÉ
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Contemporain
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Joel Jacklich
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Joel Jacklich (ASCAP)
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Rondo in A minor for Viola and
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Joel Jacklich
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.723062 Composed by Joel Jacklich (ASCAP). Arranged by Joel Jacklich (ASCAP). Contemporary. Score and parts. 154 pa...
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Chamber Orchestra - Level 5 - SKU: A0.723062 Composed by Joel Jacklich (ASCAP). Arranged by Joel Jacklich (ASCAP). Contemporary. Score and parts. 154 pages. Joel Jacklich #2075161. Published by Joel Jacklich (A0.723062). This is an arrangement by the composer of his Rondo in A minor (originally written for Guitar and Orchestra) for Viola and Orchestra. There is also a version arranged for Cello and Orchestra. In October, 2014, after my most recent commission, the creative juices were still flowing, and I felt the urge to write a work for guitar and orchestra (which I had always wanted to do, partly inspired by the memories Pepe Romero's performances with my orchestra forty years earlier). Amazingly, within two days I had, except for a few minor corrections, a completed work. The result was the Rondo in A minor for Guitar and Orchestra, which I dedicated to my friend, Sir Pepe Romero, with the greatest respect and admiration. In December of 2014, I realized the work was easily accessible for either viola or cello and created versions of the piece for solo cello and orchestra, and also a version for solo viola and orchestra. The work is rondo-like in form, but does not strictly follow all the rules. The form of the work is a kind of a musical palindrome: A B A C A D A C A B A (including a cadenza in the final rondo statement). The presence of castanets gives the work a bit of a Spanish flair. The piece is scored for pairs of flutes, oboes, clarinets in A, bassoons, horns, and trumpets in C; with timpani, castanets, and strings (8,8,5,5,3). Parts for clarinets and trumpets in B-flat are included in the set for those orchestras lacking clarinets in A or trumpets in C.
$65.00
Rondo in A minor for Cello and Orchestra
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Orchestre de chambre
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AVANCÉ
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Contemporain
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Joel Jacklich
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Joel Jacklich (ASCAP)
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Rondo in A minor for Cello and
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Joel Jacklich
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.723064 Composed by Joel Jacklich (ASCAP). Arranged by Joel Jacklich (ASCAP). Contemporary. Score and parts. 157 pa...
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Chamber Orchestra - Level 5 - SKU: A0.723064 Composed by Joel Jacklich (ASCAP). Arranged by Joel Jacklich (ASCAP). Contemporary. Score and parts. 157 pages. Joel Jacklich #2075225. Published by Joel Jacklich (A0.723064). His is an arrangement by the composer of his Rondo in A minor (originally written for Guitar and Orchestra) for Cello and Orchestra. There is also a version arranged for Viola and Orchestra. In October, 2014, after my most recent commission, the creative juices were still flowing, and I felt the urge to write a work for guitar and orchestra (which I had always wanted to do, partly inspired by the memories Pepe Romero's performances with my orchestra forty years earlier). Amazingly, within two days I had, except for a few minor corrections, a completed work. The result was the Rondo in A minor for Guitar and Orchestra, which I dedicated to my friend, Sir Pepe Romero, with the greatest respect and admiration. In December of 2014, I realized the work was easily accessible for either viola or cello and created versions of the piece for solo cello and orchestra, and also a version for solo viola and orchestra. The work is rondo-like in form, but does not strictly follow all the rules. The form of the work is a kind of a musical palindrome: A B A C A D A C A B A (including a cadenza in the final rondo statement). The presence of castanets gives the work a bit of a Spanish flair. The piece is scored for pairs of flutes, oboes, clarinets in A, bassoons, horns, and trumpets in C; with timpani, castanets, and strings (8,8,5,5,3). Parts for clarinets and trumpets in B-flat are included in the set for those orchestras lacking clarinets in A or trumpets in C.
$65.00
Symphony No. 3 in A minor, op. 17 (parts)
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Orchestre
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AVANCÉ
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by ...
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Full Orchestra - Level 5 - SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by Adrian Gagiu (A0.1357497). The orchestral parts of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale.The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's.The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material.The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins.Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
Symphony No. 3 in A minor, op. 17
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Orchestre
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AVANCÉ
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Contemporain
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by ...
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Full Orchestra - Level 5 - SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by Adrian Gagiu (A0.1356636). The score, parts and vocal score of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale. The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's. The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material. The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins. Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Extracted Parts
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Orchestre
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AVANCÉ
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Contemporain
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and S
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Benjamin Sajo
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1018924 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 76 pages. Benjamin Sajo #6072951...
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Full Orchestra - Level 5 - SKU: A0.1018924 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 76 pages. Benjamin Sajo #6072951. Published by Benjamin Sajo (A0.1018924). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$31.50
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Conductor's Score
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Orchestre
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AVANCÉ
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Contemporain
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and S
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Benjamin Sajo
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1018921 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 35 pages. Benjamin Sajo #6072943...
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Full Orchestra - Level 5 - SKU: A0.1018921 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 35 pages. Benjamin Sajo #6072943. Published by Benjamin Sajo (A0.1018921). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$20.00
A peu del "Picayo"
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Salvador Rojo Gamón
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A peu del "Picayo"
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Salvador Rojo-Gamon
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.962401 Composed by Salvador Rojo Gamón. Contemporary,Instructional,Multicultural,Standards,World. Score and Parts. 4...
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Concert Band - Level 3 - SKU: A0.962401 Composed by Salvador Rojo Gamón. Contemporary,Instructional,Multicultural,Standards,World. Score and Parts. 48 pages. Salvador Rojo-Gamon #4897799. Published by Salvador Rojo-Gamon (A0.962401). AGRADECIMIENTOSAntes de nada dar las gracias a la Unión Musical de Algimia por confiar en mi para componer una composición que conmemore el 30 aniversario.Al peu del Picayo está como casi todas mis composiciones inspiradas en hechos ya sea verÃdicos o ficticios. En este aspecto tengo que agradecer a Helios Borja Cortijo su gran contribución a mis conocimientos sobre la historia de Algimia. Mis composiciones nunca narran historias, se inspiran en ellas, en los sentimientos que de ellas extraemos, sentimos o transmitimos, Estas historias tan sólo nos facilitan la comprensión de la obra.ANÃLISISFormalmente la obra está compuesta en la forma sonata, con algunas licencias respecto a la que podrÃamos calificar –si es posible- Sonata Escolástica.INTRODUCCIÓN Inicio hasta compás 59.La introducción comienza con el acompañamiento de un clúster de cinco notas octatónicas. A partir del segundo compás va apareciendo –siempre de forma desfigurada- el tema principal de esta composición. Este no aparecerá claramente hasta el compás 62TEMA PRINCIPALCompás 60 hasta 101Alrededor de la tonalidad de LA se construye el tema principal que aparece en los graves de la banda, pasando a los agudos mientras los graves hacen un canon a la 4ª Justa.A nivel comprensivo y tan sólo como recomendación diré que la introducción y el tema principal corresponden históricamente a ALGIMIA MUDEJARTEMA SECUNDARIOCompás 102 a 136Esta parte inspirada en la ÉPOCA MORISCA de Algimia está formada por diferentes elementos siendo cuatro los más importantes.Al igual que la Introducción el tema segundario está iniciado por un Clúster, en éste caso el Clúster es cromático.El siguiente elemento en aparecer –Corno Inglés- es el propio nombre de Algimia en movimiento contrario, tomando el Abecedario como modelo y partiendo de la nota LALa inquisición está representada por las trompetas y los trombones.Estos elementos están acompañados de la simbologÃa mayormente personal del número once, representado por los cuartos y las once campanadas.En el compás 112 aparece el Elemento Cristiano de este Tema Secundario, este está en modo Dórico, también llamado Protus o Auténtico. Primero aparece en el registro grave de la banda y posteriormente en el registro grave de las maderas.DESARROLLOCompás 137 hasta el 217Basado en el Periodo de la ÉPOCA CRISTIANA MODERNA elabora los elementos presentados en la exposición con cambios a veces muy significativos.Lo primera sensación es que estamos reexponiendo los materiales, sin embargo, se está creando una falsa reexposición que en este caso nos lleva a SIb dándonos sensación de cadencia rota con un inesperado SIb.Después de un breve comentario del Tema Secundario –Tema cristiano- aparece muy desfigurado el Tema principal en oposición al Tema Cristiano, éste último en modo octatónico.Tema PrincipalTema CristianoA partir del 182 está inspirado en la expulsión de los Moriscos. Después de una breve introducción con elementos del Tema Principal y del tema Cristiano, compases 182 a 189, aparece el Tema Principal en forma de llamamiento a la guerra. Éste se repite tres veces, una pequeña coda de tres compases 214 al 217 da paso a la reexposición.REEXPOSICIÓN
$100.00
Son-Of-A-Preacher Man
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Soul/R&B
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Rock
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Dusty Springfield
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Odd Helge Hveding
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Son-Of-A-Preacher Man
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oh2Musikk
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1389836 By Dusty Springfield. By John Hurley and Ronnie Wilkins. Arranged by Odd Helge Hveding. Pop,Rock,Soul. 71 pages...
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Concert Band - Level 3 - SKU: A0.1389836 By Dusty Springfield. By John Hurley and Ronnie Wilkins. Arranged by Odd Helge Hveding. Pop,Rock,Soul. 71 pages. Oh2Musikk #973435. Published by oh2Musikk (A0.1389836). The arrangement is in F-majorThere is also a version in Bb-majorThe Timeless Tale of Son of a Preacher Man: A Musical JourneySon of a Preacher Man is a soulful anthem that transcends generations, written by John Hurley and Ronnie Wilkins. Released in 1968, the song quickly rose to fame, captivating audiences with its infectious rhythm and heartfelt lyrics. One of the song's most captivating elements is its irresistible groove, characterized by a catchy guitar riff and dynamic brass arrangements. The soulful vocals, delivered with passion and conviction, further elevate the song's emotional impact, drawing listeners into the protagonist's world. The combination of infectious melodies and poignant storytelling struck a chord with audiences, propelling Son of a Preacher Man to the top of the charts and solidifying its status as a timeless classic.Beyond its musical brilliance, the song's popularity can also be attributed to its universal themes and relatable lyrics. At its core, Son of a Preacher Man explores the timeless theme of forbidden love, a topic that resonates with listeners across cultures and generations. The struggles faced by the protagonist mirror those experienced by many individuals navigating the complexities of romance and societal expectations.Moreover, the song's enduring appeal can be attributed to its versatility and widespread cultural impact. Over the years, Son of a Preacher Man has been covered by numerous artists from various genres, ranging from pop and rock to jazz and blues. Each interpretation brings a unique perspective to the song, showcasing its adaptability and staying power.Furthermore, Son of a Preacher Man has left an indelible mark on popular culture, having been featured in numerous films, television shows, and commercials. Its inclusion in iconic films such as Pulp Fiction has introduced the song to new generations of listeners, ensuring its continued relevance in the modern musical landscape.In conclusion, Son of a Preacher Man stands as a testament to the enduring power of music to captivate, inspire, and move audiences. Through its timeless melody and poignant lyrics, the song continues to resonate with listeners, transcending barriers of time and space. As we continue to cherish and celebrate this musical masterpiece, its legacy as a cultural touchstone is destined to endure for generations to come.
$69.99
A Planet Under Siege
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Contemporain
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Garrett R
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A Planet Under Siege
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Moof Miser
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1024920 Composed by Garrett R. Melick. Contemporary. Score and parts. 42 pages. Moof Miser #4790421. Published by Moof ...
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Concert Band - Level 3 - SKU: A0.1024920 Composed by Garrett R. Melick. Contemporary. Score and parts. 42 pages. Moof Miser #4790421. Published by Moof Miser (A0.1024920). The Story of a planet falling under siege of invaders, A Planet Under Siege follows a group of soldiers who must infiltrate an alien ship as the only hope to save their planet.A Planet Under Siege is written in a style similar to a film or game score, and works to tell a story in a fun and creative way. It serves as a great entry into a concert program where you might want to spice things up with something less traditional or experimental. This is a good piece for High School groups, to give them a piece that might be easier to play, but just as fun to listen to. The changing key and time signatures, though, can also add a bit of challenge and can really test them in following their conductor and counting rests to be sure they enter in time. Being a shorter piece, only barely hitting four minutes, it can act as a small filler piece as well, that can also spice up a concert and add a bit of extra excitement into the theater!
$20.00
Theme and Variations on a Chinese New Year Theme for Extended Orchestra - Set of all parts
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Orchestre
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INTERMÉDIAIRE
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Contemporain
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Jeremy Goh, Daniel Cheng
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Theme and Variations on a Chin
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Jeremy Goh
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1027336 Composed by Jeremy Goh, Daniel Cheng. Contemporary. Score and parts. 78 pages. Jeremy Goh #12125. Published b...
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Full Orchestra - Level 3 - SKU: A0.1027336 Composed by Jeremy Goh, Daniel Cheng. Contemporary. Score and parts. 78 pages. Jeremy Goh #12125. Published by Jeremy Goh (A0.1027336). We present a work composed as a tongue-in-cheek expression of a popular street tune heard today, put through a series of 5 variations that explore different styles. It works in both a satirical as well as sophisticated manner vertically and horizontally, and uses multiple cliches that will get the audience perking up in recognition. The theme, 贺新年, is a common tune sung in Chinese New Year celebrations. In the heart of celebrating the New Year, this piece is written playable by musicians of all ages, whether in schools or as community orchestras and bands, to come together by the common celebratory notion in a work for an extended orchestra, including the saxophone and euphonium. Written by Daniel Cheng and Jeremy Goh, we hope that this season this piece can bring both laughter and reverence to the street tune, blown out of proportion in style and size. Starting the work is an atonal entry, built on tone rows and planing, legacies of Shoenberg and his contemporaries, before decomposing into an exceedingly lively statement of the theme. This is then juxtaposed beside a trip to tribal communities with interlocking rhythms and a modal distortion of the melody. From the modal mess and deviation from diatonicism, we then return to the prim and proper style of Mozart and Haydn in a short Classical variation. As if to mock its neat stature, this then is shattered with a juxtaposition beside a variation in the style of Shostakovich, modelled after the controversial Leningrad symphony, which draws on a different dimension of the theme, its banality, and propagating and emulsifying it to terrifying levels as it is distorted. Finally, a schreckenfanfare is directed marking an entry into a tribute to one of the greatest legends in music composition, with Beethoven along with its transcendental qualities of cyclism, and use of learned styles, methods of maintaining tension etc., bringing a grand ending to the 10 minute long work.
$4.99
Theme and Variations on a Chinese New Year Theme for Extended Orchestra - Full Score
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Contemporain
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Jeremy Goh, Daniel Cheng
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Theme and Variations on a Chin
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Jeremy Goh
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1027334 Composed by Jeremy Goh, Daniel Cheng. Contemporary. Score and parts. 23 pages. Jeremy Goh #12123. Published by ...
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Concert Band - Level 3 - SKU: A0.1027334 Composed by Jeremy Goh, Daniel Cheng. Contemporary. Score and parts. 23 pages. Jeremy Goh #12123. Published by Jeremy Goh (A0.1027334). We present a work composed as a tongue-in-cheek expression of a popular street tune heard today, put through a series of 5 variations that explore different styles. It works in both a satirical as well as sophisticated manner vertically and horizontally, and uses multiple cliches that will get the audience perking up in recognition. The theme, 贺新年, is a common tune sung in Chinese New Year celebrations. In the heart of celebrating the New Year, this piece is written playable by musicians of all ages, whether in schools or as community orchestras and bands, to come together by the common celebratory notion in a work for an extended orchestra, including the saxophone and euphonium. Written by Daniel Cheng and Jeremy Goh, we hope that this season this piece can bring both laughter and reverence to the street tune, blown out of proportion in style and size. Starting the work is an atonal entry, built on tone rows and planing, legacies of Shoenberg and his contemporaries, before decomposing into an exceedingly lively statement of the theme. This is then juxtaposed beside a trip to tribal communities with interlocking rhythms and a modal distortion of the melody. From the modal mess and deviation from diatonicism, we then return to the prim and proper style of Mozart and Haydn in a short Classical variation. As if to mock its neat stature, this then is shattered with a juxtaposition beside a variation in the style of Shostakovich, modelled after the controversial Leningrad symphony, which draws on a different dimension of the theme, its banality, and propagating and emulsifying it to terrifying levels as it is distorted. Finally, a schreckenfanfare is directed marking an entry into a tribute to one of the greatest legends in music composition, with Beethoven along with its transcendental qualities of cyclism, and use of learned styles, methods of maintaining tension etc., bringing a grand ending to the 10 minute long work.
$5.99
A Distant Manger Fantasy - Harnessing the enchanting melody of 'Away in a Manger'.
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Orchestre d'harmonie
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INTERMÉDIAIRE
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James Symington
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James Symington
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A Distant Manger Fantasy - Har
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James Edward Ernest Symington
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1410136 Composed by James Symington. Arranged by James Symington. Christmas,Holiday,Jazz,Praise & Worship,Religious. 72...
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Concert Band - Level 3 - SKU: A0.1410136 Composed by James Symington. Arranged by James Symington. Christmas,Holiday,Jazz,Praise & Worship,Religious. 72 pages. James Edward Ernest Symington #992593. Published by James Edward Ernest Symington (A0.1410136). 🎺 Explore a fresh interpretation of a beloved Christmas carol with A Distant Manger Fantasy, a stunning composition for solo trumpet and symphonic wind band. 🎄Derived from the timeless carol Away in a Manger, this modern adaptation breathes new life into the traditional melody, infusing it with intricate arrangements and dynamic instrumentation. The result? A captivating musical journey that retains the charm of the original while offering a contemporary twist that resonates with audiences today.In this innovative rendition, the solo trumpet takes center stage, supported by the rich harmonies and vibrant colors of the symphonic wind band. Together, they weave a tapestry of sound that transports listeners to a place of holiday enchantment and wonder.But what sets A Distant Manger Fantasy apart is its thoughtful modifications to the public domain work. While honoring the essence of the original carol, this composition introduces fresh harmonies, rhythmic variations, and expanded instrumental parts, breathing new life into a beloved classic.With additional parts available for tenor horns and Eb Bass, this composition offers flexibility and versatility, making it an ideal choice for wind ensembles and concert bands seeking a unique addition to their repertoire.Experience the magic of Christmas in a whole new way with A Distant Manger Fantasy. Contact us today to explore licensing options and bring this modern masterpiece to your ensemble's next performance. 🌟🎶.
$49.99
A Celebration of Bells (A Christmas Overture)
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Orchestre d'harmonie
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FACILE
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Noël
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Calkin, James Pierpont, and Lo
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Christopher Durigg
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A Celebration of Bells
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Christopher Durigg
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.934824 Composed by Calkin, James Pierpont, and Longfellow. Arranged by Christopher Durigg. Christmas,Contemporary,Folk....
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Concert Band - Level 2 - SKU: A0.934824 Composed by Calkin, James Pierpont, and Longfellow. Arranged by Christopher Durigg. Christmas,Contemporary,Folk. Score and parts. 44 pages. Christopher Durigg #6433709. Published by Christopher Durigg (A0.934824). PUBLISHER: C. DURIGG MUSICPUBLISHER WEBSITE: www.cdurigg.com VISIT FOR AN AUDIO SAMPLE RECORDING AND VIRTUAL SCORE: http://www.cdurigg.com/cdb002.htmlC. DURIGG MUSIC ID FOR THIS PIECE: CDB-002GRADE LEVEL: EMERGING BAND SERIES (Grade 1.5)OTHER ASSOCIATED SERIES: LIMITED OR FULL BAND SERIESWHAT IS THE LIMITED OR FULL BAND SERIES FROM C.DURIGG MUSIC?Do you have intermediate or advanced students in a very small band program? Are your students ready for more intermediate or advanced band repertoire, yet the band’s limited instrumentation holds them back?My Limited or Full series is geared toward the success of small bands with limited instrumentation. These pieces aim at giving small bands more advanced music within the framework of a young band arrangement. If you like the music, these pieces also sound great with a larger full instrumentation.PRODUCT DESCRIPTION:The joyful ringing of bells is often associated with the holiday season. This is a common theme running through Christmas Carol literature. Conceived as a fun, accessible overture for young bands or bands with limited instrumentation, A Celebration of Bells highlights two of the most beloved Christmas carols associated with bells. The piece begins with a joyful brass bell-tone fanfare accompanied by trilling woodwinds. The introduction gives way to mostly-unison woodwind rendition of I Heard the Bells On Christmas Day. The brass then further works out the melody with a more chordal presentation. The woodwinds present a short, light interlude, followed by an explosive snare drum and full-band chord one key higher than the beginning. The piece shifts to a Jingle Bells march. Following the march, the music modulates back down one key and returns to a full band, Maestoso version of I Heard the Bells. The overture comes to a close with a return to the familiar introductory bell tones. This piece is sure to be a festive hit for both your students and their audience!
$30.00
If I Were A Bell
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Ensemble Jazz
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Contemporain
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Frank Loesser
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Des McNutty
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If I Were A Bell
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Des Press
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SheetMusicPlus
Jazz Ensemble Jazz Ensemble - SKU: A0.977365 Composed by Frank Loesser. Arranged by Des McNutty. Contemporary. Score and parts. 61 pages. Des Press #688...
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Jazz Ensemble Jazz Ensemble - SKU: A0.977365 Composed by Frank Loesser. Arranged by Des McNutty. Contemporary. Score and parts. 61 pages. Des Press #6888385. Published by Des Press (A0.977365). If I Were a Bell is a song from the 1950 musical Guys and Dolls, based on Damon Runyan stories from Broadway in the prohibition era. Sky, the thirsty gambler, takes straight-laced Salvationist Sarah to Havana for a bet. They drink a local milkshake with sugar and a little native flavouringSarah: What's the name of the flavouring?Sky: Bacardi.Sarah: Doesn't Bacardi have alcohol in it?Sky: Oh, only enough to act as a preservative.Sarah: You know, this would be a wonderful way to get children to drink milk!After a couple of those, she bursts into song. Doris Day had a Top-20 hit with If I Were a Bell in 1950 and many singers have covered it since. Its place as a Jazz Standard was cemented in 1956 on the album Relaxin' with The Miles Davis Quintet.This original arrangement for big band features a solo flute - if not a flute solo - and, at 128 BPM, is slightly slower than usual. It was written in the mid-1990s for the Morley College Jazz Orchestra in London (then directed by Gordon BAP! Rose and Pete Pearl and Dean Moore). The style is in the direction of the understated West-Coast sound (Count Basie/Bill Russo/Bill Holman), with tipsy soli sections and a shout-chorus. The part for second alto OR first tenor is the same, meaning the flautist can be either an alto or tenor player. Well, if I were a salad I know I'd be splashing my dressing.Hic!
$49.99
A Rowdy, Raucous Rumpus
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Ensemble de cuivres
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INTERMÉDIAIRE/AVANCÉ
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F
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F
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A Rowdy, Raucous Rumpus
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Sweetwater Brass Press
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SheetMusicPlus
Brass Ensemble - Level 4 - SKU: A0.808685 Composed by F. Leslie Smith. Arranged by F. Leslie Smith. Children,Holiday,Traditional. Score and parts. 83 pa...
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Brass Ensemble - Level 4 - SKU: A0.808685 Composed by F. Leslie Smith. Arranged by F. Leslie Smith. Children,Holiday,Traditional. Score and parts. 83 pages. Sweetwater Brass Press #3631645. Published by Sweetwater Brass Press (A0.808685).   What is a Rumpus? Most definitions include words such as noisy disturbance, commotion and uproar. Sort of like the sounds from a group of neighborhood children in the days before play dates, private lessons and organized kids’ sports. These sounds were part and parcel of the games they played, games that originated years, even centuries, before and involved high energy levels and top-of-their-voices counting, chanting or singing (with an occasional Nyah-nyah nyah-nyah nyah nyah thrown in for good measure!). Rowdy and raucous, indeed!  This composition is one that will entertain both adults (who, after all, are just grown-up children!) and youngsters. Like children at play, it races right along. In one 6-minute work, it incorporates tunes of eleven children’s game and campfire songs: Michael Finnegan; Ring a Ring o’ Roses; Twinkle, Twinkle, Little Star; London Bridge; Hickory Dickory Dock; Three Blind Mice; John Jacob Jingleheimer Schmidt; My Pony Boy; Old MacDonald Had A Farm; The Farmer in the Dell and Bingo. And, again, like children at play, there is fun, humor and a surprise at every turn.  A Rowdy, Raucous Rumpus is a hoot to play. At a cut-time tempo of 132 and with 14(!) changes of key, it keeps all five musicians on their toes. And busy: on the Tuba part, there are V.S. (turn the page quickly) indications on the bottom of 6 of the 8 pages, 5 for Trombone and Horn in F, 3 for Trumpet 2, and 2 for Trumpet 1. In Bingo, the last tune, the group intermittently stops playing and claps or foot-taps loudly (which is a good spot for audience participation!). On the audio clip, this is indicated with a click (actually, a tambourine sound).  There are a few high notes scattered throughout. Trumpet plays B above its staff once and A a number of times. Trumpet 2 has one A above its staff. Trombone has one F above its staff. Tuba has one G in the top space of its staff.
$9.95
TELEMANN – VIOLIN CONCERTO IN A MAJOR "THE FROGS", TWV 51:A4 (Score and parts in PDF)
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Orchestre de chambre
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AVANCÉ
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Classique
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Georg Philipp Telemann
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Sneakwood Editions
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TELEMANN – VIOLIN CONCER
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Sneakwood Editions
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.890767 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 41 ...
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Chamber Orchestra - Level 5 - SKU: A0.890767 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 41 pages. Sneakwood Editions #4781035. Published by Sneakwood Editions (A0.890767). Edition based on Ms. D MÜu, ms. 775Score (20 pages) and Parts (friendly performance edition): Violino principale, Violin I, Violin II, Violin III, Viola, Violoncello and Harpsichord.The Violin Concerto in A major (TWV 51:A4), which has come to light only fairly recently, does not take as its musical model the song of the nightingale (as in ‘La Bizarre’ [TWV 55:G2]) or of the goldfinch (Vivaldi), but the croaking of the common frog, also called ‘Reling’ in certain regions of Germany, whence the concerto’s subtitle. Nothing better could be expected of a composer who found inspiration even in crows and in the out-of-tune playing of village musicians! Although this concerto, which the manuscript attributes to Telemann, bears traces of his personal style, other features, such as the exceptionally high solo part, leave room for doubt. At a structurally important point in the first movement the soloist produces no more than a succession of repeated notes, ‘a-a, a-a’, which infect the other parts as well. Of course, this is the vowel that the frog croaks, given a distinctive tone-colour by use of the open A string and stopped D string. But worse is to come. In the second ritornello the orchestral violins ‘forget’ the beginning of their theme, whilst the cello inappropriately pushes its way into the foreground. The setting of the second movement (Adagio), probably a moonlit stretch of shallow water, then audibly inspires a pair of courting frogs to make sweet music together. We are given the opportunity to rejoice in their croaking offspring in the concluding Menuet and its rapid Double. This movement entirely dispenses with concertante sounds of nature and thereby betrays its origins in the suite, where it always takes its accustomed place in Telemann’s music. If we knew that a satirist was at work in this ‘Relinge’ Concerto, someone who was deliberately exhibiting all these deviations from good taste, then we could infer with some certainty that the composer is indeed Telemann. Since his own concertos ‘smack of France’ (as he puts it in his autobiography of 1718), we may most likely credit him with permitting his not at all ‘sullen old heart’ a little joke at the expense of the relevant concertos of a certain Italian composer… – Peter Huth (trans. Charles Johnston)www.snakewoodeditions.com
$18.00
A Promise to Stand By:
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Orchestre d'harmonie
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Contemporain
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Benjamin Ayotte
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A Promise to Stand By:
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Ayotte Custom Musical Engravings
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SheetMusicPlus
Concert Band - SKU: A0.733009 Composed by Benjamin Ayotte. Contemporary. Score and parts. 30 pages. Ayotte Custom Musical Engravings #2075851. Published...
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Concert Band - SKU: A0.733009 Composed by Benjamin Ayotte. Contemporary. Score and parts. 30 pages. Ayotte Custom Musical Engravings #2075851. Published by Ayotte Custom Musical Engravings (A0.733009). A promise to stand by... this phrase indicate loyalty, steadfastness, being a man of one's word, knowing that integrity and honor are the enduring qualities by which we will be judged; not fame, fortune, influence, or other worldly measures. It is no surprise, therefore, that this phrase was incorporated by Lou Fortunate and Msgr Herman Kucyk, of blessed memory, into the alma mater of Divine Child High School. When I was approached by Mr. Bush and the Divine Child Band Boosters about the possibility of writing a piece to celebrate the fiftieth anniversary of the band program I was excited, flattered, and--most of all--humbled that I should be chosen out of many worthier candidates, in my estimation. Divine Child has had, for the longest time--since the beginning, it seems--a vibrant and thriving fine arts program involving music (both vocal and instrumental), theatre, and the visual arts as well as literature and poetry. I began to conceive of a work that would pay homage to each of these arts musically and be a celebration of all that Divine Child has to offer. One of my favourite composers, Gustav Mahler, famously said, a symphony must be like the world; it must contain everything. In the 1988 vice-presidential debate, Lloyd Bentsen famously said to Dan Quayle, Senator, you're no Jack Kennedy. A voice in my head said, Benjamin, you're no Gus Mahler. As the discarded drafts in the recycle bin took on a life of their own, I eventually dismissed the idea as impractical, and even vainglorious. I settled upon a more general idea to make the music about the band program. Most every student in the band program goes through the rigors of marching band and performs at the Falcon football games where they become intimate with the Three School Songs: the Falcon Fanfare, the Fight Song, and the Alma Mater. Taking the latter piece as my inspiration, I meditated upon the mission of the school: a promise to educate us in body, mind, and spirit. Divine Child High School stands by her promise, recruiting some of the best teachers in the area to guide us through the tumultuous adolescent years. We students, too, have a promise: to strive to be worthy of this gift, and to accept it and use it for the betterment of society. In band class, under Leo Tallieu, I learned to listen; to contribute to the group; to consider my part in relation to the whole ensemble; to show leadership when needed; and to be a role player when needed. And so, my conception of the piece changed. I wanted to use melodic, harmonic, and rhythmic devices that would be familiar to all DCHS band students, but to use them in a new and different way; to recontextualize them. As time went on, Bob Bush asked me if I would be able to work in a tribute to two band students who had tragically died in the last few years: Blaise H.
$19.99
Symphony No. 2 ... A Phantasmagorey Ballet (1998)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Symphony No. 2 ... A Phantasma
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869368 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 126...
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Full Orchestra - Level 4 - SKU: A0.869368 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 126 pages. Thomas Oboe Lee #33643. Published by Thomas Oboe Lee (A0.869368). Instrumentation: 3232-4331-timp-2perc-pf-hp-strings. Program note. Nineteen ninety-eight marks the tenth anniversary of my plunge into the world of ballet. I continue to take classes three or four times a week. It's fun, athletic, and challenging. And I'm still working on the basic notion of spotting in my pirouettes ... So when Max Hobart of the Civic Symphony Orchestra of Boston agreed to premiere a new work of mine I knew it had to be a symphonic ballet. Coincidentally, I discovered that my favorite cartoonist, Edward Gorey, is also a balletomane. He lived in New York City between 1953 and 1986 and never missed a single performance of the New York City Ballet. Apparently his leaving New York to live permanently on Cape Cod was prompted by the death of George Balanchine in 1983. Among Edward Gorey's many books there is one, The Gilded Bat, about a young woman, Maud Splaytoe, and her adventures in the ballet world. She dies in the end when the plane she is in flies into a great, dark bird. Hmmm, I thought, The Gilded Bat would make a nice adagio movement. To complete the work, I found four other Gorey books that attracted me in mood and texture: The Nursery Frieze - dogs running across the edge of a nursery ceiling, barking out words whose sequence provides no sense or meaning, e.g., Archipelago, cardamon, obloquy, ignavia, samisen, bandages, wax, Gavelkind, ... ; The Raging Tide - a fantastical story about four creatures, Figbash, Hooglyboo, Naeelah and Skrump, who would not stop abusing each other; The Utter Zoo - an alphabet book of zoo animals of Edward Gorey's concoction, e.g., Ampoo, Boggerslosh, Crunk, Dawbis, Epitwee, ... ; and The Blue Aspic - a macabre story of a mad fan, Jasper Ankle, who stalks an opera diva, Ortenzia Caviglia. When he finally meets her at the stage-door after a performance, he stabs her in the throat and cries, J'ai trouvé Hortense! Symphony No. 2 ... A Phantasmagorey Ballet is in five movements: I. The Nursery Frieze, Con moto. II. The Gilded Bat Adagio: Pas seul for Mirella Splatova, aka Maud SplaytoeIII. The Raging Tide Presto: Pas de Quatre for Figbash, Hooglyboo, Naeelah and Skrump. IV. The Blue Aspic Allegro: Valzer alla Prokofiev ... Pas de deux for Jasper Ankle and Ortenzia Caviglia. V. The Utter Zoo Largo: Grand Funk Finale. This work is dedicated to my wife, Kristin Beckwith, whom I met ten years ago at the Boston Ballet, and who continues to be my one and only ballet teacher.Audio link: https://thomasoboelee.bandcamp.com/album/symphony-no-2-a-phantasmagorey-ballet-1998
$9.99
Sinfonietta - A Symphony in Three Movements for Grade 3 Concert Band
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Orchestre d'harmonie
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FACILE
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Gregory Fritze
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Sinfonietta - A Symphony in Th
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Musica Nova USA
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.917410 Composed by Gregory Fritze. 20th Century,Classical,Contemporary,Instructional,Standards. Score and parts. 267 pa...
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Concert Band - Level 2 - SKU: A0.917410 Composed by Gregory Fritze. 20th Century,Classical,Contemporary,Instructional,Standards. Score and parts. 267 pages. Musica Nova USA #6078853. Published by Musica Nova USA (A0.917410). Sinfonietta (alternate title SinfonÃa de Vino y Aceite de Magallon) is a composition for concert band that can be played by any band whether it has 100 players or 30 players. It is at grade 3 level of difficulty and has several substitute parts for ensembles that may not have complete instrumentation. Although the scoring includes piccolo, oboes, bassoons, and French horns, these instruments are not needed to command a good performance.Sinfonietta adheres to classical forms of symphonies by composers such as Mozart, Haydn and Beethoven. The forms are very clear so the players of the band can learn this important history. The first movement is in standard Sonata Allegro form.The second movement is in A B A form and features a solo trumpet. The third movementis in a Rondo form (A B A C A) with three distinct themes. The work was commissioned in 2017 by the town of Magallón, Spain in celebration of the town’s industries of wine and olive oil. The mayor of the town of 1,000 inhabitants, Victor Manuel Chueca Rodriguez, was specific in his request for a composition at grade 3 level of difficulty. He also suggested the title as Symphony. Since it a three-movement composition instead of a four-movement composition (the normal Minuet and Trio movement is not included in this piece), the title of Sinfonietta instead of Symphony is used.Gregory Fritzeis a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. His compositions have been performed more than one thousand times in over twenty-six countries. He has written over ninety compositionsfor orchestra, band, chamber ensemblesand soloists. He has won over sixty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest2017, First Prize Winner of Reneé Fisher Composition Prize, First Prize Winner in Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d'Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in the TUBA International Etude Composition Competition, the IBLA Grand Prize (Italy), 2nd Prize in the 2nd WASBE International Composition Contest 2019, several awards from The American Prize, annual composition awards from Standard Awards Panel of American Society of Composers, Authors, and Publishers and many others. He has been commissioned by The Rhode Island Philharmonic Orchestra, The Army Band Pershing’s Own of Washington, DC, The Banda Municipal of Bilbao, The Primativa de Lliria, and others. His compositions include works published by several publishers in the United States, South America and Europe and have been performed extensively throughout the world. He has thirty-three compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.
$75.00
Canzon IV a 6 - No. 198
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Ensemble de cuivres
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Giovanni Gabrieli
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Randy A
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Canzon IV a 6 - No. 198
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Randy A. Steinberg
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SheetMusicPlus
Brass Ensemble - Level 4 - SKU: A0.870397 Composed by Giovanni Gabrieli. Arranged by Randy A. Steinberg. Baroque. Score and parts. 31 pages. Randy A. St...
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Brass Ensemble - Level 4 - SKU: A0.870397 Composed by Giovanni Gabrieli. Arranged by Randy A. Steinberg. Baroque. Score and parts. 31 pages. Randy A. Steinberg #1988451. Published by Randy A. Steinberg (A0.870397). Giovanni Gabrieli was no mere composer. He was an event. The figure at the nexus of many things all coming together in one grand tide. The greatest church in the greatest city of Europe. Freedom of intellectual thought. A Venetian School of composers at the forefront of musical innovation. The printing press and musical publishing. A Doge (Chief Magistrate or Duke) willing to spend, and spend big, on musical pomp and ceremony. A dearth of wealth and money to fund the grandest celebrations. He was the leading Italian composer and organist in Venice at its greatest heights at the chasm between the end of the Renaissance and the beginning of the Baroque period in music. Presented here is a Canzona published around 1615 for 6 brass. A variety of substitute parts are also included to handle the trombone parts with French horns and tubas. A great work that draws from Gabrieli’s many styles. The piece starts with a song like tune that is repeated throughout. Each variation is separated by a 3/4 dance-like chanson repeated throughout. The final cadence is classic Gabrieli with its grand finale. A Gabrieli instrumental ensemble work that provides listeners with a variety of common Gabrieli touches all in one piece without requiring a lot of musical forces.
$3.99
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