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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
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ASIE
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CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
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difficulté (tous)
débutant
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expert
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Non classifié
915
PIANO & CLAVIERS
Piano seul
408
Instruments en Do
163
Piano, Voix et Guitare
134
Piano, Voix
116
Piano Facile
72
Orgue
40
1 Piano, 4 mains
13
Piano Trio: piano, violon, violoncelle
11
Accompagnement Piano
6
Piano (partie séparée)
3
Accordéon
3
Piano Quintette: piano, 2 violons, alto, violoncelle
3
Piano grosses notes
2
Piano Quatuor: piano, 2 violons, violoncelle
2
Orgue, Trompette (duo)
1
Orgue, Piano (duo)
1
2 Pianos, 4 mains
1
Piano Quatuor: piano, violon, alto, violoncelle
1
2 Pianos, 8 mains
1
Instrumentations suivantes
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GUITARES
Ligne De Mélodie, (Paroles) et Accords
90
Guitare
33
Guitare notes et tablatures
30
Basse electrique
14
Ukulele
9
Guitare (partie séparée)
7
2 Guitares (duo)
4
Paroles et Accords
3
Piano, Guitare (duo)
3
Mandoline
3
4 Guitares (Quatuor)
2
3 Guitares (trio)
2
Ukulele Baryton
1
Ensemble de guitares
1
Dulcimer
1
Instrumentations suivantes
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VOIX
Chorale SATB
210
Chorale 3 parties
54
Chorale TTBB
29
Chorale 2 parties
23
Chorale SSAA
15
Voix Soprano, Piano
14
Chorale Unison
13
Voix duo, Piano
11
Voix haute
4
Voix Tenor
3
Voix duo
2
Chorale SSAATTBB
2
Voix seule
2
Voix Baryton, Piano
1
Soli, choeur mixte et accompagnement
1
Chorale
1
Chorale SSATTB
1
Instrumentations suivantes
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VENTS
2 Saxophones (duo)
86
Saxophone (partie séparée)
57
Quatuor de Saxophones: 4 saxophones
50
Flûte, Hautbois, Clarinette, Basson
43
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
40
Saxophone Alto et Piano
39
Flûte traversière et Piano
37
Hautbois, Piano (duo)
36
2 Clarinettes (duo)
36
Flûte traversière
33
Quatuor de Clarinettes: 4 clarinettes
31
Saxophone, Clarinette (duo)
31
Saxophone Alto
27
2 Flûtes traversières (duo)
26
Clarinette et Piano
26
Quintette de Saxophone: 5 saxophones
21
3 Saxophones (trio)
21
Saxophone Tenor et Piano
21
Clarinette, Violon (duo)
20
Clarinette
19
Saxophone
16
Saxophone Soprano et Piano
16
Flûte, Clarinette (duo)
16
Clarinette, Trompette (duo)
15
3 Clarinettes (trio)
15
Quatuor de Flûtes : 4 flûtes
15
Saxophone Baryton, Piano
14
2 Hautbois (duo)
13
Hautbois, Basson (duo)
12
Hautbois (partie séparée)
12
Flûte, Violon
11
Flûte, Alto (duo)
11
Clarinette et Alto
10
Hautbois, Clarinette (duo)
9
Hautbois, Flûte
9
Trio de Flûtes: 3 flûtes
8
Flûte, Saxophone (duo)
8
Quintette de Clarinettes: 5 clarinettes
8
Flûte, Trompette (duo)
7
Ensemble de saxophones
6
Flûte et Guitare
6
Quintette de Flûte : 5 flûtes
5
Ensemble de Flûtes
5
Clarinette (partie séparée)
5
Saxophone Tenor
5
Clarinette Basse, Piano
5
Flûte à bec Alto
4
Ensemble de Clarinettes
4
Saxophone Soprano
4
Flûte à Bec
4
Flûte à bec Soprano
4
Flûte, Hautbois, Clarinette (trio)
3
Cor anglais, Piano
3
Flûte, Violon et Violoncelle
2
Flûte, Violoncelle
2
Flûte, Clarinette, Piano (trio)
2
2 Flûte à bec (duo)
2
Hautbois, violon (duo)
2
Flûte, Violon, Piano
2
Clarinette, Violoncelle (duo)
2
Flûte à bec Alto, Piano
2
Hautbois, Clarinette, Basson (trio d'anches)
2
Quatuor de Flûtes à bec
2
Flûte, Hautbois (duo)
2
Cornemuse
1
Flûte, Clarinette et Basson
1
Flûte, Clarinette, Cor, Basson (Quartet)
1
Flûte, Hautbois, Basson
1
5 Flûtes à bec
1
Hautbois, Violoncelle
1
Clarinette, Basson (duo)
1
2 Clarinettes, Piano
1
Flute (partie séparée)
1
Flûte, Clarinette, Violon (trio)
1
Saxophone et Orgue
1
3 Hautbois
1
Clarinette Basse
1
3 Flûtes à bec (trio)
1
Harmonica
1
Hautbois, Clarinette et Piano (Trio)
1
Clarinette, Guitare (duo)
1
Saxophone et Piano
1
Flûte, Hautbois, Piano (trio)
1
Ensemble de Hautbois
1
Instrumentations suivantes
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
46
Trompette
34
Quatuor de Cuivres : 2 trompettes, trombone, tuba
34
Trombone et Piano
31
Trompette, Piano
26
Trompette, Saxophone (duo)
22
Trombone (partie séparée)
18
Trompette (partie séparée)
17
Trombone
16
Cor et Piano
14
2 Trompettes (duo)
14
2 Trombones (duo)
14
Quatuor de cuivres: 4 trombones
12
Trompette, Trombone (duo)
10
Tuba et Piano
10
Quatuor de Cuivres: 2 trompettes, Cor, trombone
9
Cor
8
Quatuor de Cuivres
6
Ensemble de Trombones
6
Euphonium, Piano (duo)
4
2 Cors (duo)
4
Tuba
4
3 Trombones (trio)
3
2 Euphoniums et 2 Tubas
3
Cor anglais, Piano
3
Trompette, Cor (duo)
3
3 Tubas (trio)
2
Tuba (partie séparée)
2
3 Cors (trio)
2
Ensemble de Cors
1
Quatuor de cuivres: 4 cors
1
Trombone, Cor (duo)
1
Quatuor de cuivres: 4 trompettes
1
Cor (partie séparée)
1
Bass Clef Instruments
1
4 Tubas
1
Ensemble de Trompettes
1
Euphonium
1
3 Euphoniums
1
Euphonium, Tuba (duo)
1
Trombone basse
1
Ensemble de Tubas
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
162
Violon
59
Violon et Piano
52
Alto, Piano
39
Violon, Violoncelle (duo)
35
Violoncelle, Piano
31
Trio à Cordes: violon, alto, violoncelle
24
2 Violons (duo)
21
Violon, Alto (duo)
20
Violoncelle (partie séparée)
20
Quintette à cordes: 2 violons, alto, violoncelle, basse
18
Harpe
17
2 Violoncelles (duo)
16
Trio à Cordes: 2 violons, violoncelle
14
2 Altos (duo)
14
Violoncelle
13
Alto seul
12
Contre Basse
10
Violon (partie séparée)
9
Contrebasse (partie séparée)
8
Trio à cordes
6
Alto, Violoncelle (duo)
5
4 Violoncelles
5
Trio à Cordes: 3 violoncelles
5
Alto (partie séparée)
4
Contrebasse, Piano (duo)
3
Piano Trio: Violon, Alto, Piano
3
Trio à cordes: 3 violins
3
Quatuor à cordes: 4 violons
2
Quatuor à cordes : 4 altos
2
Harpe, Flûte (duo)
1
Trio à cordes: 3 altos
1
Harpe, Violon (duo)
1
Violoncelle , Guitare (duo)
1
Trio à Cordes: 2 violons, alto
1
Harpe, Violon, Violoncelle
1
4 Contrebasses
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
141
Orchestre
75
Orchestre à Cordes
60
Ensemble Jazz
42
Ensemble de cuivres
35
Orchestre de chambre
16
Cloches
14
Ensemble de Percussions
11
Marimba
7
Batterie (partie séparée)
6
Jazz combo
6
Batterie
6
Vibraphone
4
Fanfare
3
Percussion (partie séparée)
2
Orchestre, Violon
1
Piano et Orchestre
1
Big band
1
Xylophone
1
Instrumentations suivantes
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AUTRES
Vous avez sélectionné:
At Last
Orchestre
Partitions à imprimer
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At Last
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.734133 By Etta James. By Harry …
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Full Orchestra - Level 3 - Digital Download SKU: A0.734133 By Etta James. By Harry Warren. Arranged by Daryl McKenzie. Jazz,Soul,Standards. Score and Parts. 64 pages. Daryl McKenzie #6473311. Published by Daryl McKenzie (A0.734133). Female vocal and Pops Orchestra based on the Etta James version but extended to include an instrumental solo. Voice, 2 Fl, 2 Ob, 2 Cl, 2 Bsn, 4 FHn, 3 Trpt, 3 Trb, Tba, Timp, 2 Perc, Drums, Bass, Piano, Harp, Vln 1, Vln 2, Vla, Vcl, CB.Full audio demo: https://bit.ly/32Y3kq6Big Band (with optional strings) version also available: Search HereAudio demo: https://soundcloud.com/user-99505314/at-last More arrangements by Daryl McKenzie: https://bit.ly/2VKpOXF Contact: www.mckenziemusicproductions.com Youtube Playlist: https://bit.ly/3m0oUkH Â
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Orchestre
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Etta James
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Daryl McKenzie
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At Last
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Daryl McKenzie
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SheetMusicPlus
Warriors' Last Stand (for Orchestra)
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.984566 Composed by Tito Abeleda…
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Full Orchestra - Level 4 - Digital Download SKU: A0.984566 Composed by Tito Abeleda. Contemporary. Score and parts. 79 pages. Visionary Quest Records #6697403. Published by Visionary Quest Records (A0.984566). The enemies have attacked on two fronts. The fight to overcome the adversity appear futile. The warriors' consolidate their energy and position to defend their honor and their families. The odds do not look favorable. But they will not give up for it is the Warriors' Last Stand.Warriors' Last Standwas composed by Tito Abeleda (1964 - ) for orchestra and is available for immediate digital download. Warriors' Last Stand is an exciting cinematic orchestral piece with a duration of 3 minutes 11 seconds. Digital download includes score plus parts (79 pages).Instrumentation: Flute, Oboe, Clarinet, Bassoon, Horn, Trumpet, Trombone, Timpani, Snare Drum, Tenor Drum, Bass Drum, Cymbals, Violin I, Violin II, Viola, Violoncello, Contrabass© 2022 Tito AbeledaOriginal sheet music cover photo by Alessandro GuerreiroSheet Music Artwork by Tito AbeledaContact Tito Abeleda at tito@visionaryquestrecords.comVisionary Quest Recordshttps://www.visionaryquestrecords.comhttps://bit.ly/3bIKHHv
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Orchestre
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Tito Abeleda
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Warriors' Last Stand
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Visionary Quest Records
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SheetMusicPlus
The Glastry Pearl. Tone Poem Elegy For My Mum.
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1315331 Composed by Geraldine (…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1315331 Composed by Geraldine (Denny) Green. 21st Century,Classical,Contemporary,Romantic Period. 468 pages. Geraldine (Denny) Green at Oakmountmusic #904077. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1315331). Duration : Approx. 30 minutesInstrumentationFlutes 1&2Piccolo/Flute 3Oboes 1&2Cor AnglaisClarinets 1&2 in BflatBass Clarinet in Bflat (To Low C)Bassoons 1&2Horns 1 – 4 in FTrumpets 1&2 in BflatTenor Trombones 1&2Bass TromboneTubaTimpani – 4Bass Drum, Sleigh Bells, Temple Blocks, Maracas, Cymbals – Crash and Suspended Snare Drum,Tambourine Triangle Tubular Bell (only 1 B bell required) Glockenspeil XylophoneCelestaHarpViolins 1&2ViolasCellosDouble BassesAbout The WorkOn Tuesday March 24th 2020, one day into the first UK national Lockdown at the start of the worldwide Covid-19 Pandemic, my Mum died! She was 91 and had been poorly with many different illnesses for the previous 6 months, so we knew it was coming. But the timing and unfathomable sadness of her death, together with the start of a worldwide pandemic, little did I know it at the time, was to bring forth from me a tsunami of music the likes of which I hadn’t written for many years. A set of six solo studies for various members of the clarinet family came first, written between March 20th and April 20th. As I wrote them they were orchestrating themselves in my head and forming something else as well. That “something else†grew and grew, as the Six Studies intertwined themselves around each other and expanded together, joining forces with two brand new themes to form what soon was to become an immense orchestral work. The title was easy. Glastry is a tiny district in the middle of the Co.Down countryside of Northern Ireland, where my Mum was born and brought up. And Pearl was her name. Her full name was actually Margaret Mary Ward (eventually to become Denny when she married my Dad, Colum Denny, from Belfast), but everyone always called her Pearl. The nickname was bestowed upon her just after she was born on February 28th 1929 and stuck ever since.The Glastry Pearl is a tribute to my Mum and the great and mighty person she was to me and all who knew her. It employs at least one theme or motif from each of the Six Studies For Various Solo Clarinets and uses them throughout the work in the from of Leitmotifs. It was only when the work was nearing completion that I began to wonder how to describe it. Freddy Naftel, a good composer friend of mine, suggested that Tone Poem was a fitting description and I immediately agreed. The music itself is completely tonal and highly Romantic, yet also peppered with exciting contemporary disonance. I believe it to be a good, and hopefully fun, challenge to symphony orchestras, both professional and high standard amateur alike. It offers everything from the the somber opening to the hilarious and wildly energetic central Waltz, to the glorious soaring final section, so plenty of variety to please many palates.
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Orchestre
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Geraldine
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The Glastry Pearl. Tone Poem Elegy For My Mum.
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Geraldine
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SheetMusicPlus
Lord, Who at Thy First Eucharist
Orchestre
Full Orchestra - Digital Download SKU: A0.1079686 Composed by William H. Monk. Arra…
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Full Orchestra - Digital Download SKU: A0.1079686 Composed by William H. Monk. Arranged by Joshua Choe. Classical,Easter,Sacred. Score and parts. 38 pages. JMJ Arrangements #683873. Published by JMJ Arrangements (A0.1079686). Celebrate the Institution of the Eucharist (Last Supper) with this orchestral arrangement of Lord, Who at Thy First Eucharist. This can also be used by orchestras to accompany choirs.
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Orchestre
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William H
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Joshua Choe
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Lord, Who at Thy First Eucharist
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JMJ Arrangements
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SheetMusicPlus
The Last Call - Orchestra Score and Parts PDF
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.751047 Composed by Brendan Elli…
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Full Orchestra - Level 3 - Digital Download SKU: A0.751047 Composed by Brendan Elliget MAGA 537. Contemporary. Score and parts. 59 pages. BJE Music #6496287. Published by BJE Music (A0.751047). The original simple 8-bar tune was written in 1976 but only expanded into a fully expanded version for Orchestra in 2021. The title was suggested by the rhythm of the first two notes of the main theme. Also available for Concert Band… Suitable for school or community groups. The MP3 was recorded with NotePerformer 3 Grade = 3 Duration = 4:25 mins. Score and Parts are also available at BJE Music: www.bjemusic.com
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Orchestre
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Brendan Elliget MAGA 537
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The Last Call - Orchestra Score and Parts PDF
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BJE Music
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SheetMusicPlus
At the Ninth Hour
Orchestre
Composed by Allen Pote. Musicals for Adults. Lent & Easter Musicals. Lent, Easter …
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Composed by Allen Pote. Musicals for Adults. Lent & Easter Musicals. Lent, Easter Sunday, Jesus Christ - Resurrection, Sacrifice. Score. 72 pages. Duration 72 minutes. Hope Publishing - Digital #8411DP. Published by Hope Publishing - Digital
Lent & Easter Musical<br> <br> Based on the Gospel of Mark, Allen Pote and Tom Long have created a 35-minute retelling of last week of Christ's life, with passionate music, riveting lyrics and narration. Performed in its entirety, the musical makes the full journey from Palm Sunday to Easter morning and climaxes with Allen Pote's blockbuster anthem "On the Third Day. " The work may be adapted to work as a Lenten cantata by omitting either or both of the first and last pieces. An other variation would be to sing the "Hosanna" on Palm Sunday, then on Good Friday the bulk of the work, saving "On the Third Day" your Easter morning service. Accompaniment may be provided by just piano, CD track, or a small instrumental ensemble composed by Mark Kellner. Allen Pote's memorable melodies interact beautifully with Tom Long's lyrics to provide a profoundly moving musical work, which perfectly commemorates the sacrificial death of Christ "At the Ninth Hour. " The Orchestration by Mark Kellner contains a Conductor's Score and parts for: 18 Handbells (A4-G7), Piano, Flute, Oboe, Horn in F, Percussion, Violins 1 & 2, Cello, Bass Guitar, and Synth String Reduction. The separate handbell part, depending on the selection, is for up to 18 bells (A4-G7).
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Orchestre
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Allen Pote
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Easter Musicals
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At the Ninth Hour
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Hope Publishing - Digital
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SheetMusicPlus
Elegy Sentimentale for Orchestra
Orchestre
Full Orchestra - Digital Download SKU: A0.746748 Composed by Keith Terrett. Contemp…
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Full Orchestra - Digital Download SKU: A0.746748 Composed by Keith Terrett. Contemporary,World. 33 pages. Keith Terrett #3129265. Published by Keith Terrett (A0.746748). ere at last is my ’’Elegy sentimentale’’ for orchestra, and my first original composition (opus 1), for full symphony orchestra.I hope it makes an excellent piece for amateur and professional orchestras alike; with some challenging and interesting string, woodwind and brass writing for all.I envisage the ’’Elegy’’ eventually making a good piece of film music, and in consequence any directors or producers looking for a movie theme; please feel free to contact me!Elegy Sentimenatle is a mournful & melancholic work, suited for performances on the concert platform.A Supreme Work of Art!The Elegy Sentimentale opens impressively. Keith Terrett plants a C deep in virgin soil; orchestrated brilliantly for bassoon, harp and delineated by pizzicato double basses this bass line is a tree of a forest; and we are at once held by the strength of the roots. The tonality is immediately clear, and there is a grand feeling of space and power in the wide layout of the score. A lone solo clarinet high in the tessitura accompanied by a solo cello with a counter subject state the opening eight bar theme which embodies the seeds of two ideas, which supplies the generating force for the slightly agitated Piu Mosso which follows. The counter subject given by the solo cello at the beginning is now reiterated by the plaintive voice of a solo oboe and a third motif makes an appearance in the solo clarinet; oboe and clarinet duet beautifully over arpeggiated rhythmic impulses in the harp. A new subject of an accompanying nature, derived from all the material thus far presented now comes off at a tangent on the strings cascading downwards and accompanying woodwind who, play the chief melodic subject while horns cry in anguish. This first section is then repeated; I found the whole experience spiritual, detached and wondering, intensified by the breath-taking stillness. Mr Terrett in the middle section that follows now uses his full orchestral forces; after a key change the emotional charge that follows is cataclysmic in its cry of anguish; the main theme is stated in a full dress orchestral tutti, which is then repeated. The music ebbs and flows with slight variations in the woodwind recalling the main ideas; at the very end high strings bring consolation and finally peace. Keith Terrett shows an admirable command of orchestration and melodic construction and combines these qualities with rare imagination and insight.Gerald Manning
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Orchestre
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Keith Terrett
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Elegy Sentimentale for Orchestra
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Keith Terrett
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SheetMusicPlus
Symphony No. 3 in A minor, op. 17 (parts)
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download 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.
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Orchestre
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Adrian Gagiu
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Symphony No. 3 in A minor, op. 17
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Adrian Gagiu
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SheetMusicPlus
Symphony No. 3 in A minor, op. 17
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download 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.
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Orchestre
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Adrian Gagiu
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Symphony No. 3 in A minor, op. 17
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Adrian Gagiu
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SheetMusicPlus
Winter's End
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.957758 Composed by Stephen Line…
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Full Orchestra - Level 4 - Digital Download SKU: A0.957758 Composed by Stephen Lines. Children,Contemporary,World. Score and parts. 38 pages. Stephen Lines #26113. Published by Stephen Lines (A0.957758). From below, uncertain rustlings can be discerned as creatures hairy, smooth or scaled begin to awaken from their long winter hibernation. But the last of the great winter storms approaches so they lie abed a little while longer. Then, at last watery sunshine brings warmth and the bleary eyed creatures begin to emerge - anticipating the pleasures of their annual renewal of life. There follows a bachanalia - then peace reigns.
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Orchestre
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Stephen Lines
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Winter's End
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Stephen Lines
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SheetMusicPlus
Scenes from the Sea
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.926712 Composed by James E. Goo…
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Full Orchestra - Level 4 - Digital Download SKU: A0.926712 Composed by James E. Goodwin. 20th Century,Contemporary. Score and parts. 238 pages. James Goodwin #5996663. Published by James Goodwin (A0.926712). Scenes from the Sea is a suite in five movements for full orchestra, each of which lasts approximately three minutes, except for the last movement which lasts five minutes. Movement One, entitled Schools of Fish, is a brisk opener that symbolizes the sea as a whole, teeming with life. Movement Two is called Shipwrecks. The music is contemplative and represents the multitude of ships that rest at the bottom of the sea, many of which are the graves of brave sailors. Movement Three is a march called Fighting Crabs, and is about two crabs who fight to the death for food. In Movement Four, The Abyss, the listener descends to the depths, whereupon he/she finds a peaceful rest. The last movement, A Squall, begins calmly, but a foreboding storm in the distance threatens to takes away the calm. The Navy Hymn, Eternal Father, Strong to Save, is heard just before the storm strikes. Finally, the calmness returns and the piece ends triumphantly. Scores and parts are included for full orchestra, including piano. Full program notes are available from the composer.
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Orchestre
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James E
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Scenes from the Sea
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James Goodwin
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SheetMusicPlus
Thierry Pélicant: Concerto for contrabass and orchestra, score only
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.534554 Composed by Thierry PÃ…
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Full Orchestra - Level 5 - Digital Download SKU: A0.534554 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 136 pages. Musik Fabrik Music Publishing #4283537. Published by Musik Fabrik Music Publishing (A0.534554). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher. The piano reduction with the solo part is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gà lvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...
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Orchestre
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Thierry Pélicant
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Thierry Pélicant: Concerto for contrabass and orchestra, score only
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Musik Fabrik Music Publishing
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SheetMusicPlus
Thierry Pélicant: Concerto for contrabass and orchestra, piano reduction and solo part
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.534555 Composed by Thierry PÃ…
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Full Orchestra - Level 5 - Digital Download SKU: A0.534555 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 46 pages. Musik Fabrik Music Publishing #4283543. Published by Musik Fabrik Music Publishing (A0.534555). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher. The full score is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gà lvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...
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Orchestre
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Thierry Pélicant
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Thierry Pélicant: Concerto for contrabass and orchestra, piano reduction and solo part
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Musik Fabrik Music Publishing
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SheetMusicPlus
Symphony No. 5 ... Utopia Parkway (2003) full score
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.869677 Composed by Thomas Oboe …
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Full Orchestra - Level 4 - Digital Download SKU: A0.869677 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Romantic Period. Score and parts. 147 pages. Thomas Oboe Lee #5968133. Published by Thomas Oboe Lee (A0.869677). Conceptually it all began a year ago when I came upon a book edited by Jonathan Safran Foer, A Convergence of Birds: Original Fiction and Poetry Inspired by the Work of Joseph Cornell. It is a beautiful book for the mind and the eyes: imaginative short stories and poetry alongside magnificently rendered color-plate reproductions of several Joseph Cornell box constructions. The book led me to a biography by Deborah Solomon, Utopia Parkway, and the germ of a symphonic work for Joseph Cornell was born.Symphony No. 5 ... Utopia Parkway is in five movements.I. Allegro marcato 3708 Utopia Parkway, Flushing, NYII. Lento The Enchanted Wanderer ... for Hedy LaMarr, 1941III. Avian scherzo Habitat Group for a Shooting Gallery, 1943IV. Allegro ... à la Can-can A Pantry Ballet ... for Jacques Offenbach, 1942 V. Moderato Apotheosis: Mary Baker Eddy, Christian ScientistJoseph Cornell lived most of his life with his mother and brother Robert at 3807 Utopia Parkway, Flushing, NY. The first movement, Allegro marcato, is a musical rendition of Joseph’s daily commute into Manhattan where he frequently visited dime stores, junk shops, used book stores, the New City Public Library, art galleries, movie houses and restaurants like Bickford’s and Schraft’s.The Enchanted Wanderer is a collage work on paper by Joseph Cornell – a tribute to Hedy Lamarr. Hollywood fascinated Cornell. He made several box constructions as tributes to movie stars like Lauren Bacall, Jennifer Jones, Greta Garbo, Audrey Hepburn, etc.Avian scherzo. Many of Cornell’s boxes featured cutout pictures of parakeets, parrots and cockatoos. Habitat Group for a Shooting Gallery is an especially evocative box of his aviary series. There are four birds in it, amidst other odds and ends. A number is attached to each one. There is a crack in the glass encasement – as if hit by a bullet. Blood splatters from the head of one of the birds. . In between the shooting gallery music, there is a Trio: a requiem for the dead cockatoo.Allegro ... à la Can-can. Cornell attended the ballet fervently. He made many box constructions inspired by ballet dancers: Fanny Cerrito, Marie Taglioni, Tamara Toumanova, Zizi Jeanmaire, Allegra Kent, etc. A Pantry Ballet for Jacques Offenbach is a very funny box with five red plastic lobsters in tutus. I provided a polka as background music. This movement is dedicated to Allegra Kent – a friend and confidante of Cornell.Joseph Cornell was an active member of the Christian Science Church for all of his adult life. He attended services regularly, and taught Sunday-school classes. For a while he even worked as an attendant in a Christian Science Reading Room in Great Neck, NY. In the Christian Science Hymnal I found several hymns written by the founder, Mary Baker Eddy, set to music by a number of different composers. I wrote a new tune to her hymn, Shepherd, show me how to go. The last movement, Apotheosis, is a theme and variations on this tune. It begins like a singing congregation, and it ends with the opening of Heaven’s doors – for Joseph, of course.Audio link: https://thomasoboelee.bandcamp.com/album/symphony-no-5-utopia-parkway-2003
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Orchestre
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Thomas Oboe Lee
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Symphony No. 5 ... Utopia Parkway
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Thomas Oboe Lee
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SheetMusicPlus
Missa Solemnis, op. 27 - Score Only
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
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Orchestre
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score Only
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Adrian Gagiu
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SheetMusicPlus
Albeniz/Leytush – “La Vega”, (The Alhambra)
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1076412 Composed by Isaac Alben…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1076412 Composed by Isaac Albeniz. Arranged by A. Leytush. 20th Century. Score and parts. 96 pages. Arkady Leytush #680568. Published by Arkady Leytush (A0.1076412). Orchestra: Piccolo, Flute, Oboe, English Horn, Clarinet in B flat, Soprano Saxophone, Bass Clarinet, 2 Bassoons, 4 Horns in F, 2 Trumpets in B flat, 2 Trombones, Bass Trombone, Tuba, Timpani, Percussion: Triangle, Castanets, Maracas, Snare drum, Cymbals, Gong, Tam-tam, Bass drum, Harp and Strings. - Advanced Intermediate - Digital Download Composed by Isaac Albeniz (1860-1909). Arranged by Arkady Leytush. Romantic Period, Impressionistic, Repertoire, European. 96 pages. Published by Arkady Leytush (S0.616185). Item Number: S0.616185 The composition of La Vega completed in 1897. It is interesting to note that Albeniz almost completely abandoned the composition of piano works after La Vega, although his fame was mainly focused on the works for this instrument. Although La Vega was planned as part of a cycle of melodies written on poems by his patron Money-Coutts and was therefore used as an independent piece of an orchestra suite, this work was originally composed for piano. According to the autographed dating found on the last page of the manuscript, Albeniz finished La Vega at first on January 26, 1897 in Auteuil, in a Paris neighborhood. In the course of the following weeks, decided to make profound changes. He deleted the last five pages of the Vega, added six at the beginning and composed a different ending of seven more pages. This revision ended in Paris on February 14, 1897, and Albeniz wrote down on the last page: La Alhambra, symphonic suite on poems by F. B. Money-Coutts: nº 1: La Vega. La Vega is an evocation of the Granada plains on the edge of the city, a musical reflection, as the composer put it, contemplated from the Alhambra Palace. Claude Debussy, on hearing Albeniz play the piece, enthusiastically told him of his wish to immediately go and discover Granada.
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Isaac Albeniz
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A
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Albeniz/Leytush – “La Vega”,
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Arkady Leytush
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SheetMusicPlus
Santiago in the Stream - Score Only
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1393774 By Apostolos Paraskevas…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1393774 By Apostolos Paraskevas. By Apostolos Paraskevas. Classical,Contemporary,Holiday,Multicultural,New Age,World. 49 pages. Silver Sickle Publications #977243. Published by Silver Sickle Publications (A0.1393774). APOSTOLOS PARASKEVAS (b. 1964) Santiago in the StreamSantiago in the Stream was composed for the Landmarks Orchestra, which gave the first performance under the direction of Christopher Wilkins, at the Hatch Shell on August 23, 2017. Apostolos Paraskevas is a classical guitarist, composer, film director, and producer. Since 2001, he has taught composition at the Berklee College of Music. The spokenThe text was developed by Ryan Edwards (a student of Apostolos Paraskevas) out of Hemingwayâ??s short novel The Old Man and the Sea. The composer has written about the piece: â??The music describes Santiago's emotions, thoughts and actions during his last journey. The trumpet announces his signature theme, accompanied by the brass and strings depicting the sound of the seagulls and the ocean. The magnitude of the vast ocean, the anticipation of catching the fish, memories of a distant waltz, and the exciting fight that ends in triumph. Now, it's time to return home with his valuable possessions. He already won the last and most important fight of his life.
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Apostolos Paraskevas
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Santiago in the Stream - Score Only
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Silver Sickle Publications
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SheetMusicPlus
Lily Park - II. Goblin Lights
Orchestre
Full Orchestra - Digital Download SKU: A0.1022809 Composed by Yoonjee Kim. Contempo…
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Full Orchestra - Digital Download SKU: A0.1022809 Composed by Yoonjee Kim. Contemporary,World. Score and parts. 16 pages. Yoonjee Kim #3417625. Published by Yoonjee Kim (A0.1022809). Lily Park consists of three movements entitled Wind Bell, Goblin Lights, and Rock of Ages. The three movements are based on my personal impression of the cemetery, Lily Park, where all my grandparents are buried. The first movement, the shortest in duration, is slow and calm. It is introductory in quality, and expresses the pictorial impression of the cemetery by using various tone colors. This movement utilizes mixed instrumental consorts to project the concept of moderation and serenity. There is a close connection between the first movement and the last movement, as both features a wind-bell sound, a variety of percussion instruments, and slow tempi. The first movement focuses on the external appearance of the cemetery such as the quiet atmosphere, the wind, and the sound of bell ringing. The third movement represents the mental and emotional aspects of grief, memory of the funerals and reminiscent of my grandparents. The second movement is an imaginary night scene. For thousands of years, Korean have believed that goblins roam the tombs at night and are visible as blue and red lights. The movement is fast, busy and somewhat bizarre and whimsical, depicting the motion of the goblin lights. This contrasts with other two movements, thus the overall form becomes an arch shape. In addition, only the second movement is sectionalized by three different musical ideas while the first and the last movements are through composed with a single idea.II. Goblin Lights
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Orchestre
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Yoonjee Kim
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Lily Park - II. Goblin Lights
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Yoonjee Kim
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SheetMusicPlus
Lily Park - I. Wind Bell
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.1022807 Composed by Yoonjee Kim…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1022807 Composed by Yoonjee Kim. Contemporary,World. Score and parts. 4 pages. Yoonjee Kim #3417623. Published by Yoonjee Kim (A0.1022807). Lily Park consists of three movements entitled Wind Bell, Goblin Lights, and Rock of Ages. The three movements are based on my personal impression of the cemetery, Lily Park, where all my grandparents are buried. The first movement, the shortest in duration, is slow and calm. It is introductory in quality, and expresses the pictorial impression of the cemetery by using various tone colors. This movement utilizes mixed instrumental consorts to project the concept of moderation and serenity. There is a close connection between the first movement and the last movement, as both features a wind-bell sound, a variety of percussion instruments, and slow tempi. The first movement focuses on the external appearance of the cemetery such as the quiet atmosphere, the wind, and the sound of bell ringing. The third movement represents the mental and emotional aspects of grief, memory of the funerals and reminiscent of my grandparents. The second movement is an imaginary night scene. For thousands of years, Korean have believed that goblins roam the tombs at night and are visible as blue and red lights. The movement is fast, busy and somewhat bizarre and whimsical, depicting the motion of the goblin lights. This contrasts with other two movements, thus the overall form becomes an arch shape. In addition, only the second movement is sectionalized by three different musical ideas while the first and the last movements are through composed with a single idea.I. Wind BellThe first movement expresses the general images of the cemetery; calm atmosphere, blowing wind, clean air, and a wide green field. The place is so quiet that the only the wind-bell ringing as the wind blows can be heard. In order to depict the wind-bell sound along with other optic and aural images, I create various tone colors by using various instrumental combinations in different transpositions and registrations.
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Orchestre
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Yoonjee Kim
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Lily Park - I. Wind Bell
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Yoonjee Kim
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SheetMusicPlus
Symphonie Nr. 10
Orchestre
Orchestra - Digital Download SKU: S9.Q41654 For large orchestra. Composed by…
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Orchestra - Digital Download SKU: S9.Q41654 For large orchestra. Composed by Gustav Mahler. This edition: study score. Music Of Our Time. Downloadable, Study score. Op. posth. Duration 80' 0. Schott Music - Digital #Q41654. Published by Schott Music - Digital (S9.Q41654). Gustav Mahler’s Symphony Nr. 10 is the last and only unfinished symphony in his complete oeuvre. On 5 September 1910 Mahler wrote his last notes: exactly 100 years later, the 23-year-old conductor and composer Yoel Gamzou presented with great success his new reconstruction of this extraordinary work. The World Première with the International Mahler Orchestra took place at the Ryckestrasse synagogue in Berlin as part of the Jewish Cultural Days 2010.4 (4. auch Picc.) · 4 (3. u. 4. auch Engl. Hr.) · 4 (1., 2. und 3. auch in A, 3. auch in Es, 4. auch Bassklar. in B) · 4 (3. und 4. auch Kfg.) - 4 · 4 (1. auch Kornett, 3. und 4. auch Picc.-Trp.) · 4 · 1 - P. (1 Spieler, ad lib. 2. Spieler) S. (Glsp. · Trgl. · Beck. · Tamt. · kl. Tr. · gr. Tr. m. Beck.) (3 Spieler) - Hfe. - Str.
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Orchestre
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Gustav Mahler
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Symphonie Nr. 10
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Schott Music - Digital
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SheetMusicPlus
Symphony #45 Finale (Presto-Adagio) Set
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.980035 Composed by Franz Joseph…
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Full Orchestra - Level 3 - Digital Download SKU: A0.980035 Composed by Franz Joseph Haydn. Arranged by Larry VanMersbergen. Classical. Score and parts. 180 pages. VanMersbergen Publications #2956679. Published by VanMersbergen Publications (A0.980035). This is the famous last movement that became the first protest song. The Farewell Symphony is completed when each instrument is finished in the adagio and the player quietly leaves the stage and walks down the center aisle. It is up to the conductor how this is done. It is possible to have groups of strings leave as each wind instrument leaves, or to have the group slowly become smaller down to the last two violins. Moved to the key of Em to make it playable by High School Orchestras. Has been performed at Adlai E. Stevenson High School, Lincolnshire, IL. .
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Orchestre
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Franz Joseph Haydn
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Larry VanMersbergen
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Symphony #45 Finale
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VanMersbergen Publications
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SheetMusicPlus
Flauta Carioca (2000) for flute and orchestra
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.869354 Composed by Thomas Oboe …
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Full Orchestra - Level 4 - Digital Download SKU: A0.869354 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Latin,Romantic Period. Score and parts. 88 pages. Thomas Oboe Lee #15873. Published by Thomas Oboe Lee (A0.869354). Instrumentation: solo flute & 2222-2221-timp-2perc-strings. Program note: I lived in São Paulo, Brazil, during my teenage years, from 1959 to 1966. Consequently, the samba and the bossa nova are forever engraved into my heart. So, when Larry Tamburri, Executive Director of the New Jersey Symphony Orchestra, proposed that I write a flute concerto for Bart Feller, principal flutist of the NJSO, he (Larry) thought it would be most appropriate if I wrote something inspired by my musical experiences in Brazil. The result is Flauta Carioca, literally meaning, flute in the manner of the people of Rio de Janeiro. The work is in three movements. The first is a chôro, an instrumental ensemble music that features a soloist that is often virtuosic when it is fast, and lyrical when it is slow. The second movement is a bossa nova. It features Bart on the alto flute and the music is very luscious and sexy. The listener can fantasize about Rio and the beach at Ipanema. The last movement begins with a slow introduction, a pastorale. Without a break, a forró enters in the strings, followed immediately by the percussion. Forró is party music, and this last movement is all about dancing. As a matter of fact, Bart wants to party all night ... The evening finally ends when someone turns the light out!!!Audio link: https://thomasoboelee.bandcamp.com/album/flauta-carioca-2000.
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Orchestre
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Thomas Oboe Lee
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2222-2221-timp-2perc-strings
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Flauta Carioca
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Thomas Oboe Lee
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SheetMusicPlus
One Sows for the Benefit of Another Age - Orchestra
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1002835 Composed by Kyle Vander…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1002835 Composed by Kyle Vanderburg. Contemporary. Score and parts. 112 pages. NoteForge #5793397. Published by NoteForge (A0.1002835). I started writing what would become One Sows for the Benefit of Another Age in 2013, as I was sketching ideas for what became a piano trio. I liked what I had created, but two things became evident: The piece was destined to be for orchestra, and I was not good enough as a composer to finish it. Over the next seven years, I kept returning to this piece in my spare time, adding some sections, tweaking some others, and at some point I gained the experience to finish it. But the trade-off was that I no longer had the time. At least until Spring of 2020, when the COVID-19 pandemic put most of my projects on hold, and I was able to return to--and finish--the work.The title came last. My ideas while I was writing centered around Americana (I was listening to a lot of Copland, Barber, and Ives) and infusing my history and experience in the Ozarks and on the plains. I knew I wanted to make use of the idea of illumination, of dawn. I wanted to start in the shadows and end aglow. The darkness was such a defining feature that my working title was Aegri Somnia, loosely translated from Latin as troubled dreams. As I continued working, I realized that the focus wasn't the darkness--the focus was the change.I discuss change a lot in my teaching. Students often see change as transformative change--massive, radical, sweeping change, like winning the lottery, or winning an audition. Transformative change is easy--it usually involves hoping for a situation or a Deus ex Machina, and if it happens, it benefits us immediately. Iterative change, however--small, repeated, incremental change that builds up over time--is hard. An extra half-hour of work every day, a little extra contributed to savings every month, these changes add up over time and become significant. But it requires intention and action, and it doesn't reap immediate benefits. It may not end up benefitting us at all.One Sows changes iteratively. It starts from a dark place, but is sprinkled with seeds of hope. A descending motive introduced in the violins brings us out of the darkness, albeit slowly. The idea spreads, develops, and eventually becomes part of a new idea, a new paradigm, that takes over.In searching for a title, I came across Serit ut alteri saeclo prosit, North Dakota's Latin state motto, whose English translation is the title of this work. It's a recent addition to the North Dakota statutes, but a timeless message. Our work isn't finished yet.
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Orchestre
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Kyle Vanderburg
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One Sows for the Benefit of Another Age - Orchestra
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NoteForge
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SheetMusicPlus
Pomp and Circumstance March No 1 in D op.39
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1377034 Composed by Edward Elga…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1377034 Composed by Edward Elgar. Arranged by Marcus Martin. 20th Century,March,Patriotic,Praise and Worship. 99 pages. Cornelius Edition (uk) #961638. Published by Cornelius Edition (uk) (A0.1377034). This famous march, regularly performed at u.k. 'The Last Night of the Proms' was composed in 1901. The words 'Land of Hope and Glory' were added to the trio section in 1902 by A C Benson. This section is traditionally associated with USA high school and college graduation ceremonies. This version is for full symphony orchestra.  2 Piccolos, 2 Oboes, 2 Clarinets, 2 Bassoons,  4 horns, 2 Trumpets (or Cornets) 3 Trombones, Tuba, Organ, Harp, Percussion and Strings.  However 2nd Piccolo, 3rd and 4th Horns, Harp and Organ are all 'ad lib' and in general the arrangement is effective with the omission of some of the other wind and brass at the conductor's discretion. A full score and all parts are included with alternative Bb parts for Clarinet and Trumpet.
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Orchestre
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Edward Elgar
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Marcus Martin
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Pomp and Circumstance March No 1 in D op.39
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Cornelius Edition
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SheetMusicPlus
Gulf Coast Symphony
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.965587 Composed by Kevin Price.…
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Full Orchestra - Level 4 - Digital Download SKU: A0.965587 Composed by Kevin Price. Contemporary. Score and parts. 139 pages. Kevin Price #5766297. Published by Kevin Price (A0.965587). I am really excited to present my first symphony; Gulf Coast Symphony. As far as symphonies go this is slightly shorter than most with a runtime of approx. 20 mins. This composition consists of four movements: The Sonata, which is written at an Allegro includes a french horn and oboe solo. Andante, which is obviously written at an Andante displays a very beautiful harp part, a section with the violins playing a lovely pizzicato part, and includes a trumpet duet. The percussion is also showcased in the first 8 bars of the movement. Next is the Minuet, which highlights the flutes briefly in the intro, and also includes a violin as well as a trombone solo. The last movement is a Rondo, which consists of a bassoon solo and is the longest of the 4 movements. I am looking for feedback on my composition, so please leave comments in the review section on what you liked, and what you might like to see in future compositions. Enjoy!
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Orchestre
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Kevin Price
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Gulf Coast Symphony
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Kevin Price
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SheetMusicPlus
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