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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
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
XYLOPHONE
This Time
Non classifié
509
Piano & claviers
Piano seul
4 326
Accordéon
253
Piano, Voix
28
Orgue
27
2 Pianos, 4 mains
11
Piano Trio: piano, violon, violoncelle
8
Clavecin
7
1 Piano, 4 mains
7
Instruments en Do
7
Piano, Voix et Guitare
6
Accompagnement Piano
3
Piano Quatuor: piano, violon, alto, violoncelle
3
Accordéon et Orchestre
1
Orgue, Trompette (duo)
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
+ 10 instrumentations
Retracter
Guitares
Guitare
322
Basse electrique
212
Guitare notes et tablatures
98
Ukulele
3
2 Guitares (duo)
3
Ligne De Mélodie, (Paroles) et Accords
2
Mandoline
1
Piano, Guitare (duo)
1
Mandoline, Piano (duo)
1
+ 4 instrumentations
Retracter
Voix
Chorale SATB
71
Voix seule
24
Chorale TTBB
22
Chorale SSAA
12
Voix Soprano, Piano
10
Chorale 3 parties
4
Voix haute
3
Chorale SSAATTBB
3
Voix moyenne, Piano
2
Voix Baryton, Piano
2
Voix Alto, Piano
2
Voix Tenor, Piano
2
Soli, choeur mixte et accompagnement
1
Voix Mezzo-Soprano, Piano
1
Chorale
1
Voix duo, Piano
1
Voix Soprano, Orchestre
1
Chorale Unison
1
Voix Tenor
1
+ 14 instrumentations
Retracter
Vents
Saxophone
3 176
Flûte traversière
1 337
Clarinette
1 263
Saxophone Alto
173
Saxophone Tenor
165
Saxophone Soprano
118
Quatuor de Saxophones: 4 saxophones
68
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
52
Flûte, Hautbois, Clarinette, Basson
51
Hautbois
48
Quatuor de Clarinettes: 4 clarinettes
45
Flûte à Bec
38
Flûte traversière et Piano
32
Quintette de Saxophone: 5 saxophones
26
2 Flûtes traversières (duo)
15
Ensemble de Clarinettes
14
Hautbois (partie séparée)
14
Saxophone Alto et Piano
13
Clarinette et Piano
12
Saxophone Soprano et Piano
9
Hautbois, Piano (duo)
8
Ensemble de saxophones
7
Saxophone Tenor et Piano
7
Ensemble de Flûtes
5
Quatuor de Flûtes : 4 flûtes
4
3 Clarinettes (trio)
4
Quintette de Clarinettes: 5 clarinettes
4
Flute (partie séparée)
3
Saxophone (partie séparée)
2
2 Saxophones (duo)
2
Saxophone Baryton, Piano
2
2 Clarinettes (duo)
2
Trio de Flûtes: 3 flûtes
2
Hautbois, Clarinette, Basson (trio d'anches)
2
Saxophone et Orgue
2
Flûte et Guitare
2
Clarinette, Violon (duo)
2
Flûte traversière, Orgue (duo)
1
2 Saxophones, Piano
1
Clarinette, Orchestre
1
Flûte à bec Alto, Basse continue
1
Flûte à bec Tenor
1
Flûte à bec Alto, Piano
1
Flûte, Hautbois, Clarinette (trio)
1
Flûte, Violoncelle
1
Flûte, Saxophone (duo)
1
Saxophone, Clarinette (duo)
1
Cor anglais, Piano
1
Flûte, Clarinette, Cor, Basson (Quartet)
1
Flûte, Violon
1
2 Hautbois (duo)
1
Flûte, Trombone (duo)
1
Flûte, Hautbois (duo)
1
+ 48 instrumentations
Retracter
Cuivres
Trompette
1 183
Trombone
1 136
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
88
Cor
50
Quatuor de Cuivres : 2 trompettes, trombone, tuba
37
Trombone et Piano
15
Ensemble de Trombones
13
Euphonium
11
Tuba
10
Ensemble de Trompettes
7
Trompette, Piano
7
Quatuor de cuivres: 4 trombones
7
Cor et Piano
7
Tuba et Piano
6
Quatuor de Cuivres: 2 trompettes, Cor, trombone
6
Euphonium, Piano (duo)
6
Trombone basse et Piano
3
Ensemble de Cors
3
2 Euphoniums et 2 Tubas
3
Quatuor de cuivres: 4 cors
2
Quatuor de Cuivres
2
2 Cors (duo)
2
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Trombone basse
1
2 Trompettes, Clavier (piano ou orgue)
1
Trompette, Trombone (duo)
1
2 Trompettes (duo)
1
Cor anglais, Piano
1
+ 23 instrumentations
Retracter
Cordes
Violon
577
Violoncelle
322
Alto seul
195
Quatuor à cordes: 2 violons, alto, violoncelle
120
Violon et Piano
41
Contre Basse
40
Violoncelle, Piano
24
Harpe
17
Alto, Piano
14
2 Violons (duo)
9
Trio à Cordes: violon, alto, violoncelle
7
2 Violoncelles (duo)
7
Contrebasse, Piano (duo)
5
Violon, Alto (duo)
3
Harpe, Violon (duo)
3
Harpe, Flûte (duo)
3
Violon, Violoncelle (duo)
3
Violon (partie séparée)
2
2 Altos (duo)
2
Violoncelle, Orchestre
2
Trio à cordes: 3 violins
2
4 Violoncelles
2
Alto, Violoncelle (duo)
2
Alto et orchestre
1
Trio à Cordes: 2 violons, violoncelle
1
Trio à Cordes: 3 violoncelles
1
Piano Trio: Violon, Alto, Piano
1
Violon, Orgue
1
Alto (partie séparée)
1
4 Harpes
1
Violon, Clarinette, Piano (trio)
1
Alto et Harpe
1
+ 27 instrumentations
Retracter
Orchestre & Percussions
Batterie
1 048
Orchestre
193
Orchestre d'harmonie
60
Ensemble Jazz
42
Orchestre à Cordes
38
Ensemble de cuivres
31
Orchestre de chambre
25
Jazz combo
17
Percussion
14
Ensemble de Percussions
10
Cloches
9
Fanfare
5
Vibraphone
2
Orchestre, Violon
1
Voix Mezzo-Soprano, Orchestre
1
Piano et Orchestre
1
Marimba
1
+ 12 instrumentations
Retracter
Autres
Formation musicale - Solfège
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CONTREBASSE
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COR ANGLAIS
CORNEMUSE
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DOBRO - GUI…
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EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
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GUITARE PED…
HARMONICA
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HAUTBOIS
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LUTH, THEOR…
MANDOLINE
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▽ INSTRUMENTS
ACCORDEON
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AUTRES INSTRU…
BALALAIKA
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BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHORA…
CHARANGO
CITHARE
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
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CORNET
DOBRO - GUIT.…
DULCIMER
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FANFARE - BAN…
FLUTE
FLUTE A BEC
FLUTE DE PAN
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HARPE
HAUTBOIS
LIVRES
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MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
PARTITIONS VI…
PERCUSSION
PIANO
SAXOPHONE
TROMBONE
TROMPETTE
TUBA
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VIBRAPHONE
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VIOLONCELLE
XYLOPHONE
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NOUVEAUTÉS
|
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|
20eme siecle
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Partitions Numériques
193
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|
Cordes
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Alto
Violoncelle
Contrebasse
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Flute
Clarinette
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Saxophone
Basson
Cuivre
Trompette
Cor
Trombone
Tuba
Guitare
Guitare Tablatures
Piano, Voix, Guitare
Basse
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Accordéon
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Ukulélé
Mandoline
Chambre
Quatuor à cordes
Quintet à vent
Quintet de cuivres
Cloches
ORCHESTRE
|
Orchestre d'Harmonie
Ensemble Jazz
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Ensemble de Cuivres
Fanfare
Methodes
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CHORALE / VOIX
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SATB
TTBB
SSAA
3 parties
2 parties
Voix
Piano, Voix, Guitare
Piano, Voix
Voix seule
Voix duo
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20eme siecle
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Jeux Video
Klezmer
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Latin Pop
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Medieval / Renaissance
Metal
Méthodes
Méthodes - Etudes
New Age
Noël
Patriotique
Pop
Reggae
Religion / Eglise
Rock
Rock Alt.
Soul / Rap
Tango
Traditionnel
DIFFICULTÉ
|
Débutant
Facile
Intermédiaire
Intermédiaire/avancé
Avancé
NOËL
|
Librairie Musicale
1
TOP VENTES
|
NOUVEAUTÉS
|
PIANO
|
Tout Piano
Piano Débutant
Piano Facile
Piano Seul
PVG
Meilleures Ventes
Nouveautes
GUITARE
|
Tout Guitare
Guitare Débutant
Guitare Facile
Guitare avec TABLATURE
Guitare avec SOLFEGE
Meilleures Ventes
Nouveautes
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|
Tout Chorale & Voix
Voix seule
Chorale 2 Parties
Chorale 3 Parties
Chorale SATB
Chorale TTBB
Chorale SSAA
Chorale UNISON
Meilleures Ventes
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INSTRUMENTS
|
CLAVIERS
ACCORDEON
CLAVECIN
ORGUE
PIANO
GUITARES
GUITARE
BANJO
BASSE
DOBRO
UKULELE
VOIX
CHANT - CHORALE
CORDES
ALTO
CONTREBASSE
HARPE
VIOLE DE GAMBE
VIOLON
VIOLONCELLE
VENT
BASSON
CLARINETTE
COR ANGLAIS
FLUTE
FLUTE A BEC
FLUTE DE PAN
HARMONICA
HAUTBOIS
SAXOPHONE
ENSEMBLE
ORCHESTRE
FANFARE - BANDA
CUIVRES
BUGLE
COR
CORNET
EUPHONIUM
TROMBONE
TROMPETTE
TUBA
FOLK
BALALAIKA
BOUZOUKI
CHARANGO
CITHARE
DULCIMER
LUTH, THEORBE
MANDOLINE
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--INSTRUMENTS--
ACCORDEON
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193 partitions trouvées
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176
Tableau Sentimental
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Orchestre
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AVANCÉ
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Thomas Naszalyi
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Tableau Sentimental
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Thomas Naszalyi
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.989426 Composed by Thomas Naszalyi. Concert,Contemporary,Jazz,Romantic Period. Score and parts. 18 pages. Thomas Nasz...
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Full Orchestra - Level 5 - SKU: A0.989426 Composed by Thomas Naszalyi. Concert,Contemporary,Jazz,Romantic Period. Score and parts. 18 pages. Thomas Naszalyi #5199967. Published by Thomas Naszalyi (A0.989426). Romance music written for solo piano and symphonic orchestra. There are many passionate flights in this free and tonal work, in a classical romantic and a bit jazzy style. This could be used in a historical movie, a romance, a drama or a documentary about 19th century. Instrumental, Classical, Romantic.
$1.99
What Child Is This?
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Orchestre
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AVANCÉ
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Folk Song
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Laird Halling
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What Child Is This?
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Laird Halling
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1412087 Composed by Folk Song. Arranged by Laird Halling. Christmas,Classical,Contest,Festival,Sacred,Traditional. 66...
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Full Orchestra - Level 5 - SKU: A0.1412087 Composed by Folk Song. Arranged by Laird Halling. Christmas,Classical,Contest,Festival,Sacred,Traditional. 66 pages. Laird Halling #994321. Published by Laird Halling (A0.1412087). This popular Christmas Carol based on the folk song Greensleeves is arranged to feature an advanced violin or flute soloist with piano and full orchestra accompaniment. This is a wonderful number for a Christmas concert or worship service, or can be performed any time of the year. Flexible instrumentation makes this playable by various instrumental group sizes. An optional keyboard string part is provided to augment a smaller string section.
$74.99
Mozartina
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Orchestre
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AVANCÉ
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Otoniel Rojas
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Mozartina
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Otoniel Rojas
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1302257 Composed by Otoniel Rojas. 20th Century,Classical,Historic,Latin,Traditional. Score and Parts. 119 pages. Oto...
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Full Orchestra - Level 5 - SKU: A0.1302257 Composed by Otoniel Rojas. 20th Century,Classical,Historic,Latin,Traditional. Score and Parts. 119 pages. Otoniel Rojas #891863. Published by Otoniel Rojas (A0.1302257). Based on a traditional Merengue tune from Dominican Republic in a Rondó style a'la Mozart, combining Mozart's Jupiter symphony 35th 4-note theme.Originally commissioned by the 'Fundación Filarmónica del Cibao' in  1997. Mozartina is an effervescent overture that paints us a contemporary Mozart, exposed to the melodic and rhythmic resources of the Caribbean identity, fusing the style and spirit of the famous Austrian with a mixed of the rhythmic and harmonic developments of the last 200 years of musical development. The work is structured as Rondo ,taking as its theme the traditional merengue (a traditional Dominican dance) El jarro 'ta pichao using it as melodic material that integrates into many styles and orchestral techniques. The topic is presented in juxtaposition with the monumental melodic motif of the last movement of the symphony ' Jupiter ' . Sometimes we appreciate it as it is , sometimes in inverted or hidden among contrapuntistic passages in striped and woven into different instrumental colors and harmonic richness coated within countless melodic modulations or put into small pieces. The climax part suddenly surrounds us with the classic merengue, where the 'tambora' (traditional dominican percussion instrument) makes appearance and gives it its soul. Meanwhile, in the background we still can hear the theme of 'Jupiter'. There briefly we can discover a 'perico ripiao' (another traditional Dominican dance)with its typical melisma embodied by the horn, we finally get to a climax that concludes with a short cadenza of 'tambora' and the reitaration of the main merengue theme in unison. The work was commissioned in 1997 for the opening concert of the Philharmonic of Cibao and this time receives his first audition by the National Symphony Orchestra.
$9.99
Overture di Ballo
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Orchestre
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AVANCÉ
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Sir Arthur Seymour Sullivan
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Overture di Ballo
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Trevor Denyer
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1508267 Composed by Sir Arthur Seymour Sullivan. Arranged by Transcribed and edited by Susan & Trevor Denyer. 19th Ce...
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Full Orchestra - Level 5 - SKU: A0.1508267 Composed by Sir Arthur Seymour Sullivan. Arranged by Transcribed and edited by Susan & Trevor Denyer. 19th Century,Romantic Period. 197 pages. Trevor Denyer #1083568. Published by Trevor Denyer (A0.1508267). A delightful and playable overture by Sullivan (not in collaboration with W.S. Gilbert this time) that deserves to be performed. Not currently available with parts (as far as I am aware), so this gives orchestras a chance to expand their repertoire with a piece of easy listening that should get audiences' feet tapping!As usual with my scores; print the parts double-sided as presented (including title pages where shown) and the page turns will work.
$50.00
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
O Sacred Head, Now Wounded (Instrumental Parts)(SATB, Full Orchestra, Orch. Reduction for Organ)
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Orchestre
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AVANCÉ
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Jim Ailor
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Jim Ailor
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O Sacred Head, Now Wounded
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ResurrectionSong
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1364399 By Jim Ailor. By Frederic Chopin. Arranged by Jim Ailor. Christian,Easter,Lent,Religious,Sacred. 49 pages. Re...
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Full Orchestra - Level 5 - SKU: A0.1364399 By Jim Ailor. By Frederic Chopin. Arranged by Jim Ailor. Christian,Easter,Lent,Religious,Sacred. 49 pages. ResurrectionSong #948690. Published by ResurrectionSong (A0.1364399). (INSTRUMENTAL PARTS) A beautiful marriage of text and melody. This time-honored, medieval text is set to an orchestrated version of Chopin’s Piano Prelude in C minor (Op. 28, No. 20). Through song we are taken to Christ’s final procession to the cross and His suffering and death. Musically, it works equally well with just piano accompaniment and/or with organ, which is an orchestral reduction. It opens with an optional snare drum dirge. Hard copies available at https://www.jwpepper.com/11531232.item.
$35.00
Suite Gothique: Chorale & Toccata (Score Only)
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Orchestre
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AVANCÉ
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Leon Boellmann
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Brendan Moir
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Suite Gothique: Chorale &
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Bemuse
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.961186 Composed by Leon Boellmann. Arranged by Brendan Moir. Concert,Contemporary,Romantic Period,Sacred,World. Score...
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Full Orchestra - Level 5 - SKU: A0.961186 Composed by Leon Boellmann. Arranged by Brendan Moir. Concert,Contemporary,Romantic Period,Sacred,World. Score and parts. 18 pages. Bemuse #6252901. Published by Bemuse (A0.961186). FOR REDUCED PRICES (and to better support the composer), visithttps://bemuse.bandcamp.com/merch/suite-gothique-chorale-toccata-for-symphonic-orchestra-score-only-...For more music by Brendan Moir, visit http://www.bemusearts.comA classical guitar piece inspired by the winds of Spain. This time for two guitars!
$10.00
The American Seasons (violin solo part – violin and string orchestra)
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Orchestre
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AVANCÉ
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Mark O'Connor
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The American Seasons
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Mark O'Connor Musik International
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.861925 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 34 pages. Mark O'Connor Musik Inte...
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Full Orchestra - Level 5 - SKU: A0.861925 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 34 pages. Mark O'Connor Musik International #6208093. Published by Mark O'Connor Musik International (A0.861925). The American Seasons (violin solo part – violin and string orchestra) MO148BViolin Solo Part (score and parts available)Music by Mark O’Connor30 pages - 38:00 minutes in length The American Seasons(Seasons Of An American Life)The American Seasons (Seasons Of An American Life) is a concerto for Violin And Chamber Orchestra. Composed in 1999, the music celebrates the various stages of an American life at the waking of the 21st century. Constructed in four movements and representing four stages of life, birth, adolescence, maturity and old age, the music also pays homage to Shakespeare's Seasons Of Man His acts being seven ages, incorporated throughout the work.Spring introduces the ideas of birth and infancy. After the principal theme has been stated, there is a violin cadenza encountering all twelve major keys and a 13/8 time signature representing the ancient golden ratio. These elements recall birth with all the possibilities a new life offers. Ending the movement, the principal theme is repeated with more complexity... as if posing life's questions.Summer represents the excitement and bravado of youthful adolescence and young adulthood. For the style of this movement I use a happy-go-lucky Blues voice which melds into Swing. I identify swing rhythm in all of 20th century American music culture as a common thread that runs through Ragtime through Rock and Roll on to Rap. Swing means testing the waters and pushing the envelope for lovers and soldiers.Fall is the slow movement symbolizing the wisdom of maturity. It is a peaceful theme with nostalgic strokes. It is a time for sincere reflection and enjoying ones accomplishments in life.Winter embodies the complexities and knowledge of an older person and that of a dying person. The movement begins with the principal them from Spring, but with a dissonance that emanates from a lifetime full of emotions and responsibilities. In the middle of the movement is a transition to an old world. I use my personal ancestry from Ireland as a foundation from which to rediscover one's lineage and explore the meaning and value of a cultural legacy.The exploration evolves into a four- and five-part fugue with a reel, jig, air, countered bass and the motif from the principal theme. All these elements, dances and melodies appear simultaneously and converge to form a unique insight to life's consequences from a historical perspective. Following the fugue, the principal theme finds its way back in. It sounds much as it did at birth. In the end, the solo violin cadenza carries the last earthly breaths before the violin and orchestra once again join in harmony to focus on a new life being transformed somewhere else. Life's four seasons in perpetuity. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1999 Composed by Mark O’ConnorCommissioned by the Troy Savings Bank Concert Hall for their 2000 Celebration Can be heard on American Seasons Sony Classical and The Essential Mark O’Connor Sony ClassicalMark O’Connor - violin, Metamorphosen Chamber Orchestra, Scott Yoo Catalogue Number MO148BCopyright © 1999 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor M.
$22.50
The American Seasons (2nd violins part – violin and string orchestra)
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Orchestre
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AVANCÉ
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Mark O'Connor
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The American Seasons
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Mark O'Connor Musik International
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.861930 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 40 pages. Mark O'Connor Musik Inte...
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Full Orchestra - Level 5 - SKU: A0.861930 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 40 pages. Mark O'Connor Musik International #6208105. Published by Mark O'Connor Musik International (A0.861930). The American Seasons (2nd violins part – violin and string orchestra) MO148E2nd Violins Part (score and parts available)Music by Mark O’Connor36 pages - 38:00 minutes in length The American Seasons(Seasons Of An American Life)The American Seasons (Seasons Of An American Life) is a concerto for Violin And Chamber Orchestra. Composed in 1999, the music celebrates the various stages of an American life at the waking of the 21st century. Constructed in four movements and representing four stages of life, birth, adolescence, maturity and old age, the music also pays homage to Shakespeare's Seasons Of Man His acts being seven ages, incorporated throughout the work.Spring introduces the ideas of birth and infancy. After the principal theme has been stated, there is a violin cadenza encountering all twelve major keys and a 13/8 time signature representing the ancient golden ratio. These elements recall birth with all the possibilities a new life offers. Ending the movement, the principal theme is repeated with more complexity... as if posing life's questions.Summer represents the excitement and bravado of youthful adolescence and young adulthood. For the style of this movement I use a happy-go-lucky Blues voice which melds into Swing. I identify swing rhythm in all of 20th century American music culture as a common thread that runs through Ragtime through Rock and Roll on to Rap. Swing means testing the waters and pushing the envelope for lovers and soldiers.Fall is the slow movement symbolizing the wisdom of maturity. It is a peaceful theme with nostalgic strokes. It is a time for sincere reflection and enjoying ones accomplishments in life.Winter embodies the complexities and knowledge of an older person and that of a dying person. The movement begins with the principal them from Spring, but with a dissonance that emanates from a lifetime full of emotions and responsibilities. In the middle of the movement is a transition to an old world. I use my personal ancestry from Ireland as a foundation from which to rediscover one's lineage and explore the meaning and value of a cultural legacy.The exploration evolves into a four- and five-part fugue with a reel, jig, air, countered bass and the motif from the principal theme. All these elements, dances and melodies appear simultaneously and converge to form a unique insight to life's consequences from a historical perspective. Following the fugue, the principal theme finds its way back in. It sounds much as it did at birth. In the end, the solo violin cadenza carries the last earthly breaths before the violin and orchestra once again join in harmony to focus on a new life being transformed somewhere else. Life's four seasons in perpetuity. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1999 Composed by Mark O’ConnorCommissioned by the Troy Savings Bank Concert Hall for their 2000 Celebration Can be heard on American Seasons Sony Classical and The Essential Mark O’Connor Sony ClassicalMark O’Connor - violin, Metamorphosen Chamber Orchestra, Scott Yoo Catalogue Number MO148ECopyright © 1999 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method.
$15.00
Thierry Pélicant: Concerto for contrabass and orchestra, score only
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Orchestre
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AVANCÉ
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Thierry Pélicant
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Thierry Pélicant: Conce
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.534554 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 136 pages. Musik Fabrik...
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Full Orchestra - Level 5 - 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 ...
$38.95
Thierry Pélicant: Concerto for contrabass and orchestra, piano reduction and solo part
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Orchestre
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AVANCÉ
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Thierry Pélicant
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Thierry Pélicant: Conce
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.534555 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 46 pages. Musik Fabrik ...
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Full Orchestra - Level 5 - 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 ...
$29.95
Running, Searching (for Orchestra)
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Orchestre
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AVANCÉ
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Contemporain
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Tito Abeleda
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Running, Searching
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Visionary Quest Records
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.984543 Composed by Tito Abeleda. Contemporary. Score and parts. 72 pages. Visionary Quest Records #4794297. Published...
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Full Orchestra - Level 5 - SKU: A0.984543 Composed by Tito Abeleda. Contemporary. Score and parts. 72 pages. Visionary Quest Records #4794297. Published by Visionary Quest Records (A0.984543). Full Orchestra: Flutes 1-2, Oboe 1-2, Clarinet 1-2, Bassoon 1-2, Trumpet 1-2, Horn 1-2, Trombone 1-2, Timpani, Tom-Tom, Concert Bass Drum, Cymbal, Wood Blocks, Xylophone, Violin 1-2, Viola 1-2, Violoncello 1-2, ContrabassComposed by Tito Abeleda (1964 - ) Music score plus parts = 72 PagesSometimes we need to run away. Sometimes we need to run towards something. Other times we are in need of searching for something important. Sometimes that search is frenetic or a matter of survival. Then there are those times we just need get away as quietly as possible. This encapsulates the essence of this piece Running, Searching (for Orchestra).Contact info: Tito AbeledaVisionary Quest Recordshttps://www.visionaryquestrecordsEmail: tito@visionaryquestrecords.comFollow Tito on Social Media:Facebook: https://www.facebook.com/titoabeledaTwitter: https://twitter.com/titoabeledaInstagram: https://www.instagram.com/tabeledaYouTube: https://www.youtube.com/c/titoabeledaSpotify: http://bit.ly/TitoAbeleda-on-SpotifyiTunes/Apple Music: http://bit.ly/TitoAbeleda_iTunes
$30.00
The Black Mass
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Orchestre
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AVANCÉ
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Contemporain
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Piano Sonata No
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Blake P
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The Black Mass
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Blake P. McCabe
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1143117 Composed by Piano Sonata No. 9 Op. 68 Alexander Scriabin. Arranged by Blake P. McCabe. 20th Century,New Age. ...
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Full Orchestra - Level 5 - SKU: A0.1143117 Composed by Piano Sonata No. 9 Op. 68 Alexander Scriabin. Arranged by Blake P. McCabe. 20th Century,New Age. Score and parts. 43 pages. Blake P. McCabe #743479. Published by Blake P. McCabe (A0.1143117). This composition is an arrangement of Scriabin’s Piano Sonata No. 9 Op 68. This piece has traditionally been nicknamed The Black Mass and was written for piano. Scriabin himself accepted this nickname for the piece and earlier on wrote a piece that would be nicknamed The White Mass. The Black mass was completed in 1913, a mere 2 years before his untimely death. The piece is built upon his ‘mystic chord, a hexachord built on fourths. Scriabin described this chord of embodying the divine and having a smoky tonal color, stemming from his own perception of sound as color. This piece moves from haunting sounds in its first motif to a chilling climax, returning to a mysterious murmur, and moves through multiple tempos to drag the listener along its march through its gothic vision, until finally returning to its first motif and leaving the listener haunted by the dark, colorful visions it invokes. To date of publication of this arrangement, I have yet to find an arrangement of The Black Mass for orchestra, band, nor symphony. The piece has many layers within it and includes complex polyrhythms typical of his music. The dark uncurrent, along with the form and choice of lack of direct key signature pose a unique challenge in the arrangement of this piece. I have deigned to maintain the feel of the original piano version, including his choice of time signatures and rhythmic choices while bringing it to life through the sounds of a modified symphony orchestra. This arrangement relies on the timbres of the instrument families to portray the emotional colors of the piece and particularly highlights the woodwind section of the symphony orchestra, along with the angelic sounds of the harp. Percussion is added through timpani, xylophone, glockenspiel, and multi-percussion to heighten the emotional experience of the arrangement.
$35.00
One Sows for the Benefit of Another Age - Orchestra
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Orchestre
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AVANCÉ
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Contemporain
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Kyle Vanderburg
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One Sows for the Benefit of An
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NoteForge
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1002835 Composed by Kyle Vanderburg. Contemporary. Score and parts. 112 pages. NoteForge #5793397. Published by NoteF...
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Full Orchestra - Level 5 - 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.
$49.99
Piano Concerto No. 2 in Ab "New York Tour" Full Score and Parts, James Nathaniel Holland
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James Nathaniel Holland
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Piano Concerto No. 2 in Ab &qu
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James Nathaniel Holland
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.730465 Composed by James Nathaniel Holland. Contemporary,Holiday,Jazz,Patriotic. Score and parts. 220 pages. James Na...
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Full Orchestra - Level 5 - SKU: A0.730465 Composed by James Nathaniel Holland. Contemporary,Holiday,Jazz,Patriotic. Score and parts. 220 pages. James Nathaniel Holland #3630023. Published by James Nathaniel Holland (A0.730465). (Duration: 25 minutes) Full Orchestral Score (in Concert Pitch) and Individual Instrument Parts. (Including solo piano part, revised 2018)James Nathaniel Holland is an American classical music composer of operas, symphonies, ballets, songs, and other musical concertworks that incorporate a unique, eclectic, blend of romantic, classical, world and jazz styles. In this second of his piano concerto, he blends jazz with sensitivity, rhythmic to lyrical. Nice program compliment with any Mozart piano concertos or with Gershwin's Rhapsody in Blue to feature American composers.This concerto is entitle New York Tour because like the city that inspired it, it travels throughout times, musical neighborhoods and cultures. YouTube presentation: https://www.youtube.com/watch?v=eAKDrGPLa3g Instrumentation: picc, fl., ob.12, clBb 12, Bsn12, Hrn 123, Tpt 12, Trmb. 12, Tba, Timp, Perc (glock, bass drum, small gong, s. cym w/mall and stl., slapstick, tri., hh) Piano solo, strings.Born and raised in Indiana, James Nathaniel Holland studied music at DePauw University, Vienna Austria, Interlochen National Music Camp and Indiana University (Bloomington, IN). At these schools many of his early pieces were premiered and performed, with one work being selected for main-stage production in the season. Moving to Los Angeles and then settling in New York, he performed professionally sometimes as a singer, sometimes as a pianist, sometimes as choral conductor. He composed incidental music for the stage. In 2002 he founded a composers collective where they showcased their work. He was one of the first composers to participate in the American Music Center's initial on-line library. The New Jersey Concert Opera and the Gay Men's Chorus of New Jersey also featured his comic operas and art songs. From 2005 he moved to Costa Rica where he organized concerts with visiting guest artists to present his chamber music to the public. Presently he lives in a castle in the central mountains of Costa Rica. Website: http://www.lacoronadelossantos.net/jamesnathanielholland.html YouTube Channel: https://www.youtube.com/user/composerjnholland
$45.25
Piano Concerto No. 2 in Ab "New York Tour" Full Score, James Nathaniel Holland
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James Nathaniel Holland
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Piano Concerto No. 2 in Ab &qu
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James Nathaniel Holland
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.730464 Composed by James Nathaniel Holland. Contemporary,Holiday,Patriotic. Score and parts. 80 pages. James Nathanie...
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Full Orchestra - Level 5 - SKU: A0.730464 Composed by James Nathaniel Holland. Contemporary,Holiday,Patriotic. Score and parts. 80 pages. James Nathaniel Holland #3629797. Published by James Nathaniel Holland (A0.730464). (Duration: 25 minutes) Full Orchestral Score Only in Concert Pitch.James Nathaniel Holland is an American classical music composer of operas, symphonies, ballets, songs, and other musical concertworks that incorporate a unique, eclectic, blend of romantic, classical, world and jazz styles. In this second of his piano concerto, he blends jazz with sensitivity, rhythmic to lyrical. This concerto is entitled New York Tour because like the city that inspired it, it travels throughout times, musical neighborhoods and cultures. Great compliment in programming with Mozart piano concertos or Gershwin's Rhapsody in Blue to feature American classical composers or for the Fourth of July summer concert. YouTube presentation: https://www.youtube.com/watch?v=eAKDrGPLa3g Instrumentation: picc, fl., ob.12, clBb 12, Bsn12, Hrn 123, Tpt 12, Trmb. 12, Tba, Timp, Perc (glock, bass drum, small gong, s. cym w/mall and stl., slapstick, tri., hh) Piano solo, strings.Born and raised in Indiana, James Nathaniel Holland studied music at DePauw University, Vienna Austria, Interlochen National Music Camp and Indiana University (Bloomington, IN). At these schools many of his early pieces were premiered and performed, with one work being selected for main-stage production in the season. Moving to Los Angeles and then settling in New York, he performed professionally sometimes as a singer, sometimes as a pianist, sometimes as choral conductor. He composed incidental music for the stage. In 2002 he founded a composers collective where they showcased their work. He was one of the first composers to participate in the American Music Center's initial on-line library. The New Jersey Concert Opera and the Gay Men's Chorus of New Jersey also featured his comic operas and art songs. From 2005 he moved to Costa Rica where he organized concerts with visiting guest artists to present his chamber music to the public. Presently he lives in a castle in the central mountains of Costa Rica. Website: http://www.lacoronadelossantos.net/jamesnathanielholland.html YouTube Channel: https://www.youtube.com/user/composerjnholland
$21.95
Burden Of Lives Full Score: Band & Parts
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Suraj Synthesist
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Burden Of Lives Full Score: Ba
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Suraj Synthesist
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1152218 By Suraj Synthesist. By Suraj Synthesist. 20th Century,Contemporary,Multicultural,New Age,Rock,World. Score a...
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Full Orchestra - Level 5 - SKU: A0.1152218 By Suraj Synthesist. By Suraj Synthesist. 20th Century,Contemporary,Multicultural,New Age,Rock,World. Score and parts. 68 pages. Suraj Synthesist #752423. Published by Suraj Synthesist (A0.1152218). Track number 5, approx 5:35mins in the album Consume this album, A fiction of medieval Feudal times/land. A revenge song. This sheet music consists of Vocal lead and choral harmony, the Harpsichord &Organ Parts , Lead & Rhythm Guitars & Bass Guitar's tabs & Clefs, and Drums . Based on Phrygian Dominant and Phrygian or Hanumatodi, Vakulabharanam, and the Hindustani Raagas of Bhairavi. Double bass drumming in 10/8 with a strong polyrhythm, to groovy common time, Sweep arpeggios and chords of Diminished, Augmented, Flat9 , Major7-Sharp 11. Technical Prog Metal/Rock.
$14.99
Piano Concerto No. 5, Moonlight on the Seas, Full Score and Individual Parts
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James Nathaniel Holland
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Piano Concerto No. 5, Moonligh
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James Nathaniel Holland
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1287206 Composed by James Nathaniel Holland. 21st Century,Contemporary. 276 pages. James Nathaniel Holland #878217. P...
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Full Orchestra - Level 5 - SKU: A0.1287206 Composed by James Nathaniel Holland. 21st Century,Contemporary. 276 pages. James Nathaniel Holland #878217. Published by James Nathaniel Holland (A0.1287206). FULL SCORE AND INDIVIDUAL PARTS (Including Solo Piano Parts)  The fifth of 21st century, American composer James Nathaniel Holland’s Piano Concertos.  This colorful piece evokes moonlight and the sea. Movement one evokes a tempestuous storm with crashing and churning waves against the rocky coast.  Movement is maritime serenity and three returns to tempestuous emotions. (License or permission to perform may apply.)Instrumentation:  Fl 1.2., Ob, EH, Cl Bb 1.2., Bsn 1.2., Hrn 1.2.3., Tpt 1.2.3., Trom 1.2., Tba, Timp, Perc. (Cymbal w/soft mallet, Crash Cymbals, Splash cymbal,Snare, Bass Drum, Glockenspiel ) PIANO SOLOIST, Hrp., StringsTwo Pianos/Four Hands, Full Score only, and Full Score with Instrument Parts, all sold separately.Total Duration:  Approximately 30 minutes.
$45.66
Piano Concerto No. 5, for Full Orchestra and Piano Soloist, Full Score - Score Only
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James Nathaniel Holland
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Piano Concerto No. 5, for Full
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James Nathaniel Holland
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1287200 Composed by James Nathaniel Holland. 21st Century,Contemporary. 108 pages. James Nathaniel Holland #878210. P...
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Full Orchestra - Level 5 - SKU: A0.1287200 Composed by James Nathaniel Holland. 21st Century,Contemporary. 108 pages. James Nathaniel Holland #878210. Published by James Nathaniel Holland (A0.1287200). FULL SCORE (in Concert Pictch) Only. The fifth of 21st century, American composer James Nathaniel Holland’s Piano Concertos.  This colorful piece evokes moonlight and the sea. Movement one evokes a tempestuous storm with crashing and churning waves against the rocky coast.  Movement is maritime serenity and three returns to tempestuous emotions. (License or permission to perform may apply.)Instrumentation:  Fl 1.2., Ob, EH, Cl Bb 1.2., Bsn 1.2., Hrn 1.2.3., Tpt 1.2.3., Trom 1.2., Tba, Timp, Perc. (Cymbal w/soft mallet, Crash Cymbals, Splash cymbal,Snare, Bass Drum, Glockenspiel ) PIANO SOLOIST, Hrp., StringsTwo Pianos/Four Hands, Full Score only, and Full Score with Instrument Parts, all sold separately.Total Duration:  Approximately 30 minutes.
$15.23
Clair de Lune "Moonlight" (from "Suite Bergamasque")
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Classique
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Claude Debussy
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Arianna Cunningham
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Clair de Lune "Moonlight&
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Arianna Cunningham
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1251990 Composed by Claude Debussy. Arranged by Arianna Cunningham. Classical,Romantic Period. 51 pages. Arianna Cunn...
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Full Orchestra - Level 5 - SKU: A0.1251990 Composed by Claude Debussy. Arranged by Arianna Cunningham. Classical,Romantic Period. 51 pages. Arianna Cunningham #846171. Published by Arianna Cunningham (A0.1251990). Recently, my piano teacher recommended me to learn Clair de Lune sometime, after she demonstrated it to me during one of my lessons. I couldn't get this beautiful romantic-like piece out of my head, so I've decided to make an orchestra arrangement.Not only I'm sharing this arrangement vfor you all, but I'm also gathering a few of my friends to make a more live version, hence most of them are multi-instrumentalists and can cover most of the parts available.
$30.00
Bach Harpsichord Concerto no. 2 in E major, BWV 1053
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Classique
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Johann Sebastian Bach
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Johann Sebastian Bach
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Bach Harpsichord Concerto no.
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Gabriel Vinicius
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1101547 By Johann Sebastian Bach. By Johann Sebastian Bach (1685-1750)j. Arranged by Johann Sebastian Bach. Baroque,C...
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Full Orchestra - Level 5 - SKU: A0.1101547 By Johann Sebastian Bach. By Johann Sebastian Bach (1685-1750)j. Arranged by Johann Sebastian Bach. Baroque,Classical,Instructional,Multicultural,World. Score and parts. 15 pages. Gabriel Vinicius #704925. Published by Gabriel Vinicius (A0.1101547). Johann Sebastian Bach wrote his Harpsichord Concerto no. 2 in E, BWV 1053 in 1738, and it was published in 1854 in Leipzig by C.F. Peters. This concerto is thought to be based on a concerto for a wind instrument, probably oboe or oboe d'amore, and from stylistic considerations, it may have dated from Bach's time in Leipzig. It exists, like BWV 1052, in a later transcription in his cantatas Gott soll allein mein Herze haben, BWV 169, and Ich geh und Suche mit Verlangen, BWV 49, from which further inferences can be made about the original concerto. Bach changed his method of arrangement with this work, significantly altering the ripieno parts from the original concerto for the first time, limiting much more to the tutti sections. The lower string parts were much reduced in scope, allowing the harpsichord bass to be more prominent, and the upper strings were likewise modified to allow the harpsichord to be at the forefront of the texture. A standard rendition of the piece lasts 19 minutes. The work calls for two violins, a viola, and a continuo section, besides the solo harpsichord.
$5.00
Carson Cooman: Remembering Tomorrow: Trombone Concerto (2004) for trombone and orchestra), score plu
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Contemporain
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Carson Cooman
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Carson Cooman: Remembering Tom
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.533655 Composed by Carson Cooman. Contemporary. Score and parts. 39 pages. Musik Fabrik Music Publishing #3035627. Pu...
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Full Orchestra - Level 5 - SKU: A0.533655 Composed by Carson Cooman. Contemporary. Score and parts. 39 pages. Musik Fabrik Music Publishing #3035627. Published by Musik Fabrik Music Publishing (A0.533655). Commissioned by and is dedicated to trombonist Haim Avitsur. Throughout the work, the trombone is placed into a variety of different musical contexts—sometimes with bleakness and sometimes with warmth. The work begins with the tubular bells alone, presenting the principal musical material of the work. The strings enter with a suspended tapestry, through which the trombone plays its opening melodies. In this section, the trombone has a cantorial role—singing and interacting with the orchestra. These opening musical ideas are developed as the trumpet, horn, and clarinet join the trombone in soloistic roles. A signal gesture on the trumpet is heard once, interrupting the tapestry. When the signal is heard again, the music accelerates into the second section. The second section is fast and bell-like as the trombone sings excited lines through ringing masses of sound. Whirring figurations emerge in the winds and are picked up by the strings. The sectiongrows wilder until it climaxes in hammer chords. From this, the trumpet, bells, and trombone emerge—maintaining and propelling the energy of thesection. Gradually, the energy is released, leading into the third section. The third section is chorale-like, combining again suspended sounds in the strings with harmonic motion in the winds in brass. The trombone again plays a cantorial role. A build up of energy occurs at the end of this section, leading into the fourth and final section—the cadenza. The trombone bursts into the cadenza, not with a forceful shout, but with a whisper. The work winds down to its conclusion—without a loss of speed or energy, but rather by the increase of silence. Instrumentation: 2111/1100/timp/1perc/soloTbn/strings The score by itself is available as another item. The parts are on rental from the publisher.
$29.95
Carson Cooman: Remembering Tomorrow: Trombone Concerto - Score Only
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Contemporain
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Carson Cooman
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Carson Cooman: Remembering Tom
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.533654 Composed by Carson Cooman. Contemporary. Score and parts. 34 pages. Musik Fabrik Music Publishing #3035625. Pu...
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Full Orchestra - Level 5 - SKU: A0.533654 Composed by Carson Cooman. Contemporary. Score and parts. 34 pages. Musik Fabrik Music Publishing #3035625. Published by Musik Fabrik Music Publishing (A0.533654). Commissioned by and is dedicated to trombonist Haim Avitsur. Throughout the work, the trombone is placed into a variety of different musical contexts—sometimes with bleakness and sometimes with warmth. The work begins with the tubular bells alone, presenting the principal musical material of the work. The strings enter with a suspended tapestry, through which the trombone plays its opening melodies. In this section, the trombone has a cantorial role—singing and interacting with the orchestra. These opening musical ideas are developed as the trumpet, horn, and clarinet join the trombone in soloistic roles. A signal gesture on the trumpet is heard once, interrupting the tapestry. When the signal is heard again, the music accelerates into the second section. The second section is fast and bell-like as the trombone sings excited lines through ringing masses of sound. Whirring figurations emerge in the winds and are picked up by the strings. The sectiongrows wilder until it climaxes in hammer chords. From this, the trumpet, bells, and trombone emerge—maintaining and propelling the energy of thesection. Gradually, the energy is released, leading into the third section. The third section is chorale-like, combining again suspended sounds in the strings with harmonic motion in the winds in brass. The trombone again plays a cantorial role. A build up of energy occurs at the end of this section, leading into the fourth and final section—the cadenza. The trombone bursts into the cadenza, not with a forceful shout, but with a whisper. The work winds down to its conclusion—without a loss of speed or energy, but rather by the increase of silence. Instrumentation: 2111/1100/timp/1perc/soloTbn/strings The score by itself is available as another item. The parts are on rental from the publisher.
$25.95
Missa Solemnis, op. 27 - Score Only
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published ...
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Full Orchestra - Level 5 - 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.
$100.00
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