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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
A Night Like This
Non classifié
312
Piano & claviers
Piano seul
145
Piano, Voix
63
Piano, Voix et Guitare
56
Piano Facile
34
Instruments en Do
16
Orgue
7
Piano Trio: piano, violon, violoncelle
6
Piano Quatuor: piano, violon, alto, violoncelle
4
Accompagnement Piano
3
1 Piano, 4 mains
3
2 Pianos, 4 mains
1
Accordéon
1
+ 7 instrumentations
Retracter
Guitares
Guitare notes et tablatures
31
Ukulele
20
Ligne De Mélodie, (Paroles) et Accords
16
Guitare
13
Piano, Guitare (duo)
6
Basse electrique
5
Paroles et Accords
3
Ensemble de guitares
1
Ensemble de Ukulélés
1
4 Guitares (Quatuor)
1
+ 5 instrumentations
Retracter
Voix
Chorale SATB
65
Chorale 3 parties
30
Chorale TTBB
20
Chorale 2 parties
16
Chorale Unison
9
Chorale SSAA
6
Voix duo
5
Voix duo, Piano
3
Voix Soprano, Piano
3
Voix haute
3
Voix Alto, Piano
2
Voix Baryton, Piano
2
Voix basse, Piano
1
Chorale SSAATB
1
Soli, choeur mixte et accompagnement
1
Chorale
1
+ 11 instrumentations
Retracter
Vents
Clarinette et Piano
29
Hautbois, Piano (duo)
29
Flûte traversière et Piano
27
Saxophone Alto et Piano
24
Flûte, Hautbois, Clarinette, Basson
21
Saxophone Tenor et Piano
19
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
16
2 Flûtes traversières (duo)
14
Quatuor de Saxophones: 4 saxophones
14
2 Saxophones (duo)
11
Clarinette
8
Quintette de Saxophone: 5 saxophones
7
Quatuor de Clarinettes: 4 clarinettes
6
Clarinette (partie séparée)
6
Saxophone Tenor
6
Quatuor de Flûtes : 4 flûtes
6
Ensemble de saxophones
5
Saxophone Alto
5
Hautbois (partie séparée)
5
Ensemble de Clarinettes
5
Saxophone Soprano et Piano
5
2 Clarinettes (duo)
5
Flûte traversière
5
Cor anglais, Piano
4
Clarinette, Violon (duo)
4
2 Flûte à bec (duo)
3
Ensemble de Flûtes
3
Saxophone Baryton, Piano
3
2 Hautbois (duo)
3
Quintette de Clarinettes: 5 clarinettes
3
Flûte, Violon
3
Flûte, Clarinette et Basson
2
Hautbois
2
Flûte à bec Soprano
2
3 Saxophones (trio)
2
Saxophone, Clarinette (duo)
2
Clarinette, Trompette (duo)
2
Flute (partie séparée)
2
Flûte, Alto (duo)
2
Flûte, Clarinette (duo)
2
Clarinette et Alto
2
Hautbois, violon (duo)
1
Hautbois, Flûte
1
Clarinette Basse, Piano
1
Hautbois, Violoncelle
1
Flûte, Trompette (duo)
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Trio de Flûtes: 3 flûtes
1
Clarinette, Guitare (duo)
1
Quatuor de Flûtes à bec
1
Flûte, Saxophone (duo)
1
Hautbois, Basson (duo)
1
Quintette de Flûte : 5 flûtes
1
Clarinette, Violoncelle (duo)
1
Saxophone (partie séparée)
1
Clarinette, Basson (duo)
1
Flûte, Violoncelle
1
Hautbois, Clarinette (duo)
1
Flûte, Hautbois (duo)
1
Ensemble De Flûte à bec
1
Hautbois et alto (duo)
1
+ 56 instrumentations
Retracter
Cuivres
Trombone et Piano
25
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
14
Cor et Piano
14
Trompette, Piano
13
Trompette
12
Quatuor de Cuivres : 2 trompettes, trombone, tuba
9
Tuba et Piano
9
Quatuor de Cuivres: 2 trompettes, Cor, trombone
8
2 Trompettes (duo)
7
Cor
4
Cor anglais, Piano
4
Trompette (partie séparée)
4
2 Trombones (duo)
4
Euphonium, Piano (duo)
3
Trombone (partie séparée)
3
Quatuor de Cuivres
3
Trombone
3
Trompette, Trombone (duo)
2
2 Tubas (duo)
2
2 Cors (duo)
2
Trompette, Saxophone (duo)
2
Ensemble de Trombones
2
Cor (partie séparée)
2
Trompette, Cor (duo)
2
Tuba (partie séparée)
2
Trompette, Euphonium (duo)
1
Quatuor de cuivres: 4 trombones
1
2 Trompettes, Clavier (piano ou orgue)
1
+ 23 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
35
Violon et Piano
26
Alto, Piano
23
Violoncelle, Piano
21
Violon
11
Violoncelle
10
Violon, Violoncelle (duo)
10
Harpe
10
Trio à Cordes: violon, alto, violoncelle
8
Violon, Alto (duo)
8
Violon (partie séparée)
7
Contrebasse, Piano (duo)
7
2 Violons (duo)
6
Alto seul
6
Quintette à cordes: 2 violons, alto, violoncelle, basse
6
2 Violoncelles (duo)
5
2 Altos (duo)
5
Trio à cordes: 3 violins
3
Alto (partie séparée)
3
Piano Trio: Violon, Alto, Piano
2
Alto et Harpe
2
Harpe, Violon (duo)
2
Contre Basse
2
Harpe, Flûte (duo)
2
Trio à Cordes: 3 violoncelles
2
Alto, Violoncelle (duo)
2
Trio à Cordes: 2 violons, violoncelle
2
Contrebasse (partie séparée)
2
Harpe, Voix
2
Violoncelle (partie séparée)
1
2 Contrebasses (duo)
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Harpe, Violoncelle (duo)
1
Quatuor à cordes: 4 violons
1
Ensemble d'Altos
1
Trio à cordes: 3 altos
1
Ensemble de Violons
1
+ 32 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
80
Orchestre
29
Orchestre à Cordes
22
Ensemble Jazz
9
Ensemble de cuivres
7
Fanfare
4
Orchestre de chambre
4
Percussion (partie séparée)
3
Cloches
2
Batterie
1
Ensemble de Percussions
1
Jazz combo
1
Instrumentation Flexible
1
Marimba
1
+ 9 instrumentations
Retracter
Autres
Théorie de la musique
1
Partitions Gratuites
Instruments
ACCORDEON
ALTO
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BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
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BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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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
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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
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Nouveautes
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Vous avez sélectionné:
A Night Like This
Orchestre
Partitions à imprimer
29 partitions trouvées
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1
26
Silent Night, Holy Night (for Orchestra)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Noël
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Franz X
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Tito Abeleda
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Silent Night, Holy Night
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Visionary Quest Records
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.984555 Composed by Franz X. Gruber. Arranged by Tito Abeleda. Christmas. Score and parts. 69 pages. Visionary Quest R...
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Full Orchestra - Level 4 - SKU: A0.984555 Composed by Franz X. Gruber. Arranged by Tito Abeleda. Christmas. Score and parts. 69 pages. Visionary Quest Records #4895613. Published by Visionary Quest Records (A0.984555). To understand why I composed this arrangement of Silent Night, Holy Night in the way that I did, close your eyes and imagine taking a holy journey or pilgrimage to visit the Holy Nativity. I musically convey what I imagined it would have been like to make this long journey like the Three Wise Kings and others did to follow the Star of Bethlehem to see the Blessed Child that prophets had foretold. As each person begins the journey, you will hear the distinctly grave motif indicative of the quest that was before them. The brass gloriously herald one's approach to the Holy Nativity coupled with the commencement of the Silent Night, Holy Night carol theme upon one's arrival. The music Silent Night, Holy Night was originally composed in 1818 by Franz X. Gruber. The original lyrics were were written in German by James Mohr also in 1818. This Christmas Classic was translated to English in 1859 by John Young. I wrote this arrangement yesterday as an intermediate level piano solo.This is a re-imagined version of Franz Gruber's Christmas Carol classic Silent Night, Holy Night. Section A begins with a poignant introduction in C Minor, then modulates to C Major for the main Silent Night, Holy Night Christmas Carol theme in Section B. Section C returns to a new version of its introductory C Minor motif. The song segues back to its Silent Night, Holy Night theme, but modulating to D Major for its closing.F. Gruber's Silent Night, Holy Night (for Full Orchestra) Arranged by Tito Abeleda (1964 - ). = 70 pages. Duration = 4 minutes 42 seconds.INSTRUMENTATION - Piccolo 1.2nFlute 1.2.3nAlto FlutenOboe 1.2.3.4nCor Anglais 1.2nClarinet in E^bnClarinet in DnClarinet in B^b 1.2.3nClarinet in A 1.2.3nBassoon 1.2.3.4nContrabassoon 1.2nHorn in F 1–8nTrumpet in DnTrumpet in C 1.2.3.4nBass Trumpet in E^bnTrombone 1.2.3nTenor Tuba in B^b 1.2nBass Tuba in FnTimpani 1.2nCymbalsnTubular BellsnHarpnViolin InViolin IInViolanVioloncellonDouble BassContact 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
$35.00
Silent Night For Full Orchestra And Chorus
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Orchestre
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INTERMÉDIAIRE
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Noël
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Christian Paulson
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Christian Paulson
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Silent Night For Full Orchestr
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Christian Paulson
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1153104 By Christian Paulson. By Franz Xaver Gruber. Arranged by Christian Paulson. 19th Century,Christmas,Holiday. S...
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Full Orchestra - Level 3 - SKU: A0.1153104 By Christian Paulson. By Franz Xaver Gruber. Arranged by Christian Paulson. 19th Century,Christmas,Holiday. Score and Parts. 28 pages. Christian Paulson #753348. Published by Christian Paulson (A0.1153104). This arrangement began as a piece I arranged as a finale for our first combined band, orchestra, and choir concert. It was a big hit! Silent Night has always been a piece that everyone seems to hold dearly. The chorus has a traditional harmony right out of the green hymnal. This piece can also be done with a small group of singers or as a solo. The instruments parts are very accessible and the scoring makes every group sound full. One of the theatrical moments happens right after the climax of the second verse. Choke the cymbal and chimes on beat one of measure 55 and let the natural reverberance of the hall ring on. Slow the tempo, lower the volume and invite the audience to hum along to the last verse. Nothing brings musicians and audiences together like Silent Night.
$45.00
The Dark Knight, Concert Suite from: Flute
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Orchestre
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Methodes
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Hans Zimmer and James Newton H
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Victor López
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The Dark Knight, Concert Suite
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - SKU: AX.00-PC-0015743_F1 Flute. Composed by Hans Zimmer and James Newton Howard. Arranged by Victor López. Instructional....
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Full Orchestra - SKU: AX.00-PC-0015743_F1 Flute. Composed by Hans Zimmer and James Newton Howard. Arranged by Victor López. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0015743_F1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015743_F1). UPC: 038081342856.Live the drama of the new blockbuster Batman thriller with this medley featuring Harvey Two-Face, Introduce a Little Anarchy, and Like a Dog Chasing Cars. Perfectly arranged for the advanced orchestra or the community orchestra!
$3.00
The Dark Knight, Selections from: Flute
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Orchestre
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Methodes
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Hans Zimmer and James Newton H
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Douglas E
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The Dark Knight, Selections fr
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - SKU: AX.00-PC-0015738_F1 Flute. Composed by Hans Zimmer and James Newton Howard. Arranged by Douglas E. Wagner. Instructional. P...
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Full Orchestra - SKU: AX.00-PC-0015738_F1 Flute. Composed by Hans Zimmer and James Newton Howard. Arranged by Douglas E. Wagner. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0015738_F1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015738_F1). UPC: 038081342597.Although scored at the perfect level for intermediate players, the drama and musical impact of the original score remain uncompromised in this medley including Harvey Two-Face, Introduce a Little Anarchy and A Dark Knight. Players and audiences alike will thrill in experiencing the music of this brilliant cinematic spectacle again and again. This arrangement is designed to work well with strings alone or with the addition of winds.
$3.00
The Dark Knight, Selections from: Timpani
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Orchestre
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Methodes
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Hans Zimmer and James Newton H
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Douglas E
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The Dark Knight, Selections fr
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - SKU: AX.00-PC-0015738_TMP Timpani. Composed by Hans Zimmer and James Newton Howard. Arranged by Douglas E. Wagner. Instructional...
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Full Orchestra - SKU: AX.00-PC-0015738_TMP Timpani. Composed by Hans Zimmer and James Newton Howard. Arranged by Douglas E. Wagner. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0015738_TMP. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015738_TMP). UPC: 038081342597.Although scored at the perfect level for intermediate players, the drama and musical impact of the original score remain uncompromised in this medley including Harvey Two-Face, Introduce a Little Anarchy and A Dark Knight. Players and audiences alike will thrill in experiencing the music of this brilliant cinematic spectacle again and again. This arrangement is designed to work well with strings alone or with the addition of winds.
$3.00
The Dark Knight, Selections from: Bassoon
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Orchestre
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Methodes
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Hans Zimmer and James Newton H
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Douglas E
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The Dark Knight, Selections fr
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - SKU: AX.00-PC-0015738_B1 Bassoon. Composed by Hans Zimmer and James Newton Howard. Arranged by Douglas E. Wagner. Instructional....
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Full Orchestra - SKU: AX.00-PC-0015738_B1 Bassoon. Composed by Hans Zimmer and James Newton Howard. Arranged by Douglas E. Wagner. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0015738_B1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015738_B1). UPC: 038081342597.Although scored at the perfect level for intermediate players, the drama and musical impact of the original score remain uncompromised in this medley including Harvey Two-Face, Introduce a Little Anarchy and A Dark Knight. Players and audiences alike will thrill in experiencing the music of this brilliant cinematic spectacle again and again. This arrangement is designed to work well with strings alone or with the addition of winds.
$3.00
The Dark Knight, Selections from: Cello
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Orchestre
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Methodes
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Hans Zimmer and James Newton H
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Douglas E
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The Dark Knight, Selections fr
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - SKU: AX.00-PC-0015738_VC1 Cello. Composed by Hans Zimmer and James Newton Howard. Arranged by Douglas E. Wagner. Instructional. ...
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Full Orchestra - SKU: AX.00-PC-0015738_VC1 Cello. Composed by Hans Zimmer and James Newton Howard. Arranged by Douglas E. Wagner. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0015738_VC1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015738_VC1). UPC: 038081342597.Although scored at the perfect level for intermediate players, the drama and musical impact of the original score remain uncompromised in this medley including Harvey Two-Face, Introduce a Little Anarchy and A Dark Knight. Players and audiences alike will thrill in experiencing the music of this brilliant cinematic spectacle again and again. This arrangement is designed to work well with strings alone or with the addition of winds.
$3.00
The Dark Knight, Selections from: Mallets
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Orchestre
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Methodes
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Hans Zimmer and James Newton H
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Douglas E
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The Dark Knight, Selections fr
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - SKU: AX.00-PC-0015738_M1 Mallets. Composed by Hans Zimmer and James Newton Howard. Arranged by Douglas E. Wagner. Instructional....
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Full Orchestra - SKU: AX.00-PC-0015738_M1 Mallets. Composed by Hans Zimmer and James Newton Howard. Arranged by Douglas E. Wagner. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0015738_M1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015738_M1). UPC: 038081342597.Although scored at the perfect level for intermediate players, the drama and musical impact of the original score remain uncompromised in this medley including Harvey Two-Face, Introduce a Little Anarchy and A Dark Knight. Players and audiences alike will thrill in experiencing the music of this brilliant cinematic spectacle again and again. This arrangement is designed to work well with strings alone or with the addition of winds.
$3.00
twilight of awesome 7
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Orchestre
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AVANCÉ
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Contemporain
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Godce Christopher m fry
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Godce Christopher m fry
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twilight of awesome 7
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Godce Christopher Fry
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1015448 Composed by Godce Christopher m fry. Arranged by Godce Christopher m fry. Classical,Contemporary. Score and p...
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Full Orchestra - Level 5 - SKU: A0.1015448 Composed by Godce Christopher m fry. Arranged by Godce Christopher m fry. Classical,Contemporary. Score and parts. 3 pages. Godce Christopher Fry #4777991. Published by Godce Christopher Fry (A0.1015448). The twilight of a dream can come true with a piece like this, the twilight of awesome is a piece that when you think about it wishing for something on a twilight night and happens itsi awesome.
$110.00
The Dark Knight, Concert Suite from: Score
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Orchestre
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Film/TV
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James Newton Howard and Hans
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Victor López
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The Dark Knight, Concert Suite
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - Digital Download Score. Composed by James Newton Howard and Hans Zimmer (1957-). Arranged by Victor López. Instructional....
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Full Orchestra - Digital Download Score. Composed by James Newton Howard and Hans Zimmer (1957-). Arranged by Victor López. Instructional. Score. 36 pages. Alfred Music - Digital Sheet Music #00-PR- 0004056. Published by Alfred Music - Digital Sheet Music
Live the drama of the new blockbuster Batman thriller with this medley featuring Harvey Two-Face, Introduce a Little Anarchy, and Like a Dog Chasing Cars. Perfectly arranged for the advanced orchestra or the community orchestra!
$9.00
All Time High
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Rita Coolidge
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All Time High
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www.studio-orchestrations.com
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1393788 By Rita Coolidge. By John Barry and Tim Rice. Arranged by John Langley for Studio Orchestrations. Contemporar...
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Full Orchestra - Level 4 - SKU: A0.1393788 By Rita Coolidge. By John Barry and Tim Rice. Arranged by John Langley for Studio Orchestrations. Contemporary,Film/TV,Pop,Standards. 103 pages. Www.studio-orchestrations.com #977260. Published by www.studio-orchestrations.com (A0.1393788). IMPORTANT: Please see note below about the key of this versionThis classic song by John Barry and Tim Rice originally sung by Rita Coolidge comes from Roger Moore's last Bond appearance in Octopussy. This is a film very much of its time, many dry double-entendre from our leading man for sure which might raise a Moore-like eyebrow these days.  Likewise the song here is perhaps one of the lesser played James Bond title tracks too but it is a charming departure from some of the higher octane anthems like Thunderball, Live and let die or even Goldfinger and returns us to the gentler musical era / genre of From Russia with love, For your eyes only and You only live twice.So why not program this in your film night for singer and orchestra. This score and parts are a semitone/half-step higher (starting in F major) which might suit some female performers slightly better for range.  The original Rita Coolidge performancxe key (starting in E major) is dusky and mellow (ie. quite low) but is also available on this website.INSTRUMENTATION:2 Flutes2 Oboes2 Clarinets[Optional 2nd clarinet dbl. Alto Saxophone SOLO]Alto Saxophone (SOLO)2 Bassoons4 French Horns3 TrombonesTubaTimpaniPercussion [Susp.Cym. / Glock]HarpPianoElectric Guitar (Lead)Acoustic Guitar (Rhythm)[Optional]Bass GuitarDrum KitString SectionEnjoy!If you like this arrangement then other dramatic and very striking orchestrations exist from arranger John Langley for the following pieces:BarcelonaCome what mayDiamonds are foreverLet it snow, let it snow, let it snowMary did you knowMillion DreamsOnce upon a DecemberSummer wineTango de RoxanneWhen you believe
$120.00
All Time High
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Rita Coolidge
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All Time High
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www.studio-orchestrations.com
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1393785 By Rita Coolidge. By John Barry and Tim Rice. Arranged by John Langley (for Studio Orchestrations). Film/TV,P...
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Full Orchestra - Level 4 - SKU: A0.1393785 By Rita Coolidge. By John Barry and Tim Rice. Arranged by John Langley (for Studio Orchestrations). Film/TV,Pop,Standards. 103 pages. Www.studio-orchestrations.com #977256. Published by www.studio-orchestrations.com (A0.1393785). This classic song by John Barry and Tim Rice originally sung by Rita Coolidge comes from Roger Moore's last Bond appearance in Octopussy. This is a film very much of its time, many dry double-entendre from our leading man for sure which might raise a Moore-like eyebrow these days. Likewise the song here is perhaps one of the lesser played James Bond title tracks too but it is a charming departure from some of the higher octane anthems like Thunderball, Live and let die or even Goldfinger and returns us to the gentler musical era / genre of From Russia with love, For your eyes only and You only live twice.So why not program this in your film night for singer and orchestra. In this version we have the original Rita Coolidge performancxe key (starting in E major) which is dusky and mellow but is also available on this website a semitone/half-step higher (strarting in F major) which might suit some female performers ranges better.INSTRUMENTATION:2 Flutes2 Oboes2 Clarinets[Optional 2nd clarinet dbl. Alto Saxophone SOLO]Alto Saxophone (SOLO)2 Bassoons4 French Horns3 TrombonesTubaTimpaniPercussion [Susp.Cym. / Glock]HarpPianoElectric Guitar (Lead)Acoustic Guitar (Rhythm)[Optional]Bass GuitarDrum KitString SectionEnjoy!If you like this arrangement then other dramatic and very striking orchestrations exist from arranger John Langley for the following pieces:BarcelonaCome what mayDiamonds are foreverLet it snow, let it snow, let it snowMary did you knowMillion DreamsOnce upon a DecemberSummer wineTango de RoxanneWhen you believe
$120.00
Nocturne for Orchestra
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Orchestre
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INTERMÉDIAIRE
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Contemporain
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Madelyn Byrne
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Nocturne for Orchestra
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Madelyn Byrne
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.986832 Composed by Madelyn Byrne. Contemporary. Score and parts. 18 pages. Madelyn Byrne #2003237. Published by Madel...
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Full Orchestra - Level 3 - SKU: A0.986832 Composed by Madelyn Byrne. Contemporary. Score and parts. 18 pages. Madelyn Byrne #2003237. Published by Madelyn Byrne (A0.986832). Nocturne for Orchestra began as a piece that would celebrate the 400th Anniversary of Galileo’s telescope while using a musical language that would be in keeping with a program of American music. I thought that The Unanswered Question by Ives, and the emotional depth and poignancy of much of Copland’s music, would be a perfect compliment to a tribute to Galileo. But then two friends passed away and the piece turned into a tribute to them, with the night sky and the Unanswered Questions that surround us creating a consoling environment for this effort. The songlike themes of Nocturne grow out of my journey from mourning the premature deaths of my friends to celebrating their rich and vibrant lives. Section A is the dreamlike introductory section, B is a transition to the song-like section, and C is where the songlike themes are stated outright. D is a development section, E is an interruption - returning to the dreamlike music, F merges the dream music with the thematic material, G is the expressive high point of the piece and is articulated by the violin and cello solos. The remaining sections are intended to convey freedom and celebration. This is followed by a brief coda.
$10.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484977...
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Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484976...
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Full Orchestra - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #488544...
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Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
The Thunderer
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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J P Sousa
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Kevin Riley
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The Thunderer
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Kevin Riley
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1488381 Composed by J P Sousa. Arranged by Kevin Riley. March. 90 pages. Kevin Riley #1065270. Published by Kevin Ril...
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Full Orchestra - Level 4 - SKU: A0.1488381 Composed by J P Sousa. Arranged by Kevin Riley. March. 90 pages. Kevin Riley #1065270. Published by Kevin Riley (A0.1488381). Other than the fact that Sousa’s “thunderer” was undoubtedly a Mason, his identity may never be revealed. “The Thunderer” march was dedicated to Columbia Commandery No. 2, Knights Templar, of Washington, D.C., and it was composed on the occasion of the Twenty-fourth Triennial Conclave of the Grand Encampment. The conclave was held in October 1889 and was sponsored by Columbia Commandery No. 2. Sousa had been “knighted” in that organization three years earlier.“The Thunderer” was Mrs. John Philip Sousa’s favorite march. This was revealed by their daughter Helen, who also surmised that the “thunderer” might have been her father’s salute to the London Times, which was known as “the thunderer.” It has since been determined that Sousa probably had no association with the newspaper at that time, however. The “thunderer” might have been one of the men in charge of making arrangements for the 1889 conclave–in particular, Myron M. Parker, who worked tirelessly to make the event the spectacular success that it was.This version has been arranged for orchestra with a little something in the trio!If you would like other arrangements of Sousa marches please get in touch at klscj(at)me(dot)com.
$70.00
Symphony No. 6 ... The Penobscot River (2004) for chorus and orchestra
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Symphony No. 6 ... The Penobsc
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869295 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 149...
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Full Orchestra - Level 4 - SKU: A0.869295 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 149 pages. Thomas Oboe Lee #431379. Published by Thomas Oboe Lee (A0.869295). Instrumentation: 3222-4231-timp-2perc-hp-chorus-strings Program note:It has been a wonderful two years of thinking, learning and working on my Continental Harmony Project with the Bangor Symphony Orchestra. It is a rare occasion that a composer in the 21st century would receive a commission to write a musical work of such scale: a 40-minute piece for symphony orchestra, 200-plus chorus and a ballet company. At the Bangor Public Library I found some wonderful evocative 19th century texts for the chorus about the city of Bangor and its environs: the Penobscot River, Mt. Ktaadn, the logging industry, the native American culture, etc. At times I felt overwhelmed, but most of the times I was exuberant and quite inspired by the music that came forth in the process. The premiere is less than a month away, and I am looking forward to it. Susan Jonason, Executive Director of the Bangor Symphony, has made the occasion a very public one: a free concert on a Saturday evening! I hope the audience will go home humming the tunes from the work as they walk into the crisp, cool Bangor night.Formally the work is in five movements. The first, third and fifth movements are choral, and the two in between are orchestral. In the premiere, the Robinson Ballet will dance in the orchestral movements. The first movement is about the Penobscot River from winter to spring. The melting of the ice is a harbinger of things to come: warmer weather, for instance; but it has also contributed to a lot of flooding in the city of Bangor and its surroundings.The second movement is a waltz, a grand 19th century ballroom waltz for the ladies of the rich lumber barons. They come to the ball showing off their latest hats and gowns from London, Paris and Milan.The third movement is about the woods and the people who work in them. Thoreau’s text about Mt. Ktaadn is full of awesome thoughts about how nature is beautiful, yet unkind to man. It is followed by a J.G. Whittier lyric entitled The Logger’s Boast. The original song had twenty stanzas to it. I whittled it down to five. I don’t know what the original song sounded like, so I made up my own version of a lumberjack’s drinking song.The fourth movement is a wild, drunken polka. After a long week of working in the woods the lumbermen come back to the city and spend all their earnings on booze, women and gambling. And they dance the night away …The last movement begins with a funeral march for Joe Attien, a native American who was Thoreau’s guide when he came up here in the 1900’s. The work ends with a rousing march, a centennial hymn to the city of Bangor. God bless our city Bangor, now! On this its birthday morn …NB: The two ballet movements, II. La Valse and IV. Drunken Polka, are optional.
$9.99
Chevalier De Sangreal
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Orchestre
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AVANCÉ
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Hans Zimmer
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Chevalier De Sangreal
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www.studio-orchestrations.com
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1430275 Composed by Hans Zimmer. Arranged by John Langley / Studio Orchestrations. Classical,Contemporary,Film/TV,Rel...
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Full Orchestra - Level 5 - SKU: A0.1430275 Composed by Hans Zimmer. Arranged by John Langley / Studio Orchestrations. Classical,Contemporary,Film/TV,Religious,Thriller. 102 pages. Www.studio-orchestrations.com #1010904. Published by www.studio-orchestrations.com (A0.1430275). From the 2006 Ron Howard film adaptation of Dan Brown's The Da Vinci Code, this track is taken from the soundtrack which underscores the final late night walk by Robert Langdon (played by Tom Hanks) through the streets of Paris to (possibly and hopefully) conclude his long and testing quest to seek the Holy Grail. No spoilers however. If you've not seen it, then add it to your playlist!The film's soundtrack evokes great emotion throughout and whatever criticisms there may have been over the years about the book, the story, the film etc.. this is definitely one of Hans Zimmer's finest emotional and thought provoking soundtrack scores, drawing from a huge range of musical influences, from the big symphonic oceanic sounscapes to the intimate vocal solo and choral plainchant that are peppered throughout the score. It is an example of how a soundtrack can really make a massive difference to what some might describe glibly as a popcorn movie.Very much like Time in Inception Zimmer takes a relatively simple harmonic and melodic trope and adds layers of melodic counter melody and rhythmic building to create an awe inspiring and (let's face it BIG!) climax, supporting the narrative of the film and story but also creating music that can be taken away from the cinematic experience and enjoyed for its own sake.This orchestration emulkates as closely as possible the soundtrack. Some licence has been taken with the addition of 2 Trumpets which build the climax with the upper strings. SATB choir is also scored as per the original soundtrack but optional as it is mostly covered by orchestral instruments and is also a very brief appearance but - at least for the sopranos - extremely challenging for anyone apart from a professional specialist choral ensemble. The synth section of the keyboard part in the opening pages can also be optional, adding some background sounds that Zimmer is so renowned for (this may be beyond the budget of some performing groups we appeciate). However the piano cues later in the piece are highly desirable as they add a percussive support to the strings.We commend this score to anyone buidling a program of film music for their orchestral event, particularly if you are wishing to include some more modern concert ideas, and in particular a Hans Zimmer classic.INSTRUMENTATON:2 Flutes2 Oboes2 Clarinets2 Bassoons1 Contra-Bassoon (Optional)4 Horns2 Trumpets3 Trombones1 TubaTimpani2 Percussion[Cymbals/Suspp.Cymbal/Bass Drum/Tubular Bells]KeyboardSATB Choir [Optional]Strings.
$150.00
RAGING FURIES - Goettinnen der Rache
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Rainer Fabich Orchestra
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Rainer Fabich
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RAGING FURIES - Goettinnen der
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Fajora Music
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1225840 By Rainer Fabich Orchestra. By Rainer Fabich. Arranged by Rainer Fabich. 21st Century,Classical,Contemporary,...
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Full Orchestra - Level 4 - SKU: A0.1225840 By Rainer Fabich Orchestra. By Rainer Fabich. Arranged by Rainer Fabich. 21st Century,Classical,Contemporary,Film/TV. Score and Parts. 212 pages. Fajora Music #821876. Published by Fajora Music (A0.1225840). RAGING FURIES - Rasende FurienGoddesses of revenge - Göttinnenn der RageConcert Piece for big orchestra - Score and PartsThe image of the raging furies as a topos has permeated the world of thoughts and images of mankind for thousands of years and has inspired and fascinated countless artists.This idea is also based on an emotional background, a violent, uncontrolled emotional outburst, a rage (Latin: furor, in the sense of frenzy, passion and madness, French: rage). The resulting affect action is described as rage or fury, combined with a state of mind of uncontrolled excitement in the sense of being beside oneself or out of one's senses.The personification of these affects was in Greek and Roman mythology with the trio of vengeance goddesses, the Erinyens (Latin furia) called: Alekto (the incessant, the never resting), Megaira (German: Megäre, the envious anger) and Tisiphone (the Vengeance avenging the murder, represented with a dog's head and bat's wings), and another, that of Nemesis (the reconciling justice). Already in antiquity they were depicted in sculptures, embossed on coins or immortalized as images on amphorae.They appear in all eras of fine arts, sometimes in female, male or androgynous form, e.g. as avenging angels, or as hybrid beings between humans and animals. Pictures by Albrecht Dürer, Hieronymus Bosch, Tizian, Peter Paul Rubens, William Hamilton, Johann Heinrich Fuessli, Franz von Stuck, Alfred Kubin, Salvador Dali, Francis Bacon, Yongbo Zhao and many others are proof of this.They found their way into the literature of Virgil (Aeneis), Dante (Divine Comedy) or John Milton (Paradise Lost). Goethe lets them appear in Faust II, Schiller (Die Kraniche des Ibykus) and many others refer to them directly or in a modified form, such as Kurt Tucholsky (Gripsholm Palace), Alfred Döblin (Berlin Alexanderplatz), Max Frisch (Homo Faber) or Jean-Paul Sartre (The Flies).In opera, they become an important element in highly dramatic scenes, especially on themes with a mythological or historical background, often also related to the underworld, as in Monteverdi (Il Ritorno d`Ulisse in Patria), Lully (Armide), Gluck (Orpheus and Euridice) or Purcell (Dido and Aeneas). Haendel dedicates an aria to them in Rinaldo, the Furie Terribili. Mozart also uses it in The Magic Flute, in his aria Der Hölle Rache by the Queen of the Night.Furies appear up to the present in various forms, in comics, fantasy novels, computer games, or kung fu films of the 70s (Furies on the yellow river). They are even popular as plastic children's toys, mostly in particularly frightening and creepy presentations (Matchbox/Fighting Furies or Warhammer/Erinnye). This remarkable history and reception inspired Rainer Fabich to create this new orchestral work from his MYThS series. PEGASUS - Ride on Wings, ULYSSES - Prélude to an Odyssey and THE AMONZS - Myth and Projection have already been released. As the title suggests, this is frantically wild music (Allegro molto vivace) that seems to run away, like an action film with fast motives and runs of strings and woodwinds, combined with strong accents of brass and massive percussion Set. Alternations of straight and asymmetrical beats illustrate erratic sequences of movement, as are typical of scenes with the highest intensity, especially in films (e.g. a chase). In the jazzy middle section, the furies calm down a little, before they pick up speed again in a bombastic third section and increase to the point of ecstasy.
$49.95
Clarinet Concerto ... Sounds of the Islands (2003) for clarinet solo and orchestra
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Clarinet Concerto ... Sounds o
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869365 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Latin,Romantic Period. Score and parts. 102 p...
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Full Orchestra - Level 4 - SKU: A0.869365 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Latin,Romantic Period. Score and parts. 102 pages. Thomas Oboe Lee #29655. Published by Thomas Oboe Lee (A0.869365). Instrumentation: 2222-4321-2perc-pf-strings. When Andrea Bates, executive director of the Brockton Symphony Orchestra, first told me that the Brockton Symphony had commissioned me to write a new work to be premiered in 2003-2004, I immediately thought that since its music director, Jonathan Cohler, is a marvelous clarinetist I would be most attracted to the idea of writing a clarinet concerto for the occasion. Both Andrea and Jonathan were very receptive and enthusiastic about my idea. Andrea also told me that the commissioned work should somehow bring to attention the diverse cultures of the recent immigrants that have settled in the city of Brockton. So in the spring of 2003 I came down to Brockton for a meeting to which Andrea had invited representative members of these new communities. Three showed up: Maria Evora-Rosa, Rick Marrero and Fred Fontaine. Andrea had asked them to bring recordings of the music from their countries for me to listen to. There were CDs of very exciting and fun music from Cape Verde, Puerto Rico, Cuba, the Dominican Republic and Haiti. After spending months listening to the music from these countries, all of them islands in the Atlantic or the Caribbean, I slowly began to get a sense of the beauty and the magic of the musical style and language of each place, each individual island. The end result is a three-movement work for clarinet and orchestra. Unlike the traditional Concerto form which is Fast-Slow-Fast, this work begins with something slow. A fast number follows as a second movement; and then, after a short, slow interlude, another fast number appears. The first movement is my adaptation of the morna of Cape Verde – slow, melancholy and sad. The diva of the morna is Cesaria Evora. Her singing brings to mind a fusion between the African blues and the Portuguese fado. The second movement is my take on the merengue as performed by the inimitable Xavier Cugat. It is dance music through and through!!! The third movement is also a dance number: the ever-popular music from Haiti, the reggae. And in order to give some contrast between the two dance numbers, I added a slow chorale for clarinet and strings that serves as a prelude before the dancing begins in the final movement. I envision the chorale as a little church music before the people go out and dance the night away. Throughout the entire work, the solo clarinet is the principal voice … singing, dancing, and cavorting!!! Gotta dance!!! Have fun and enjoy the music!!! I surely did as I was working on it ….
$9.99
Sinfonia N. 8
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Orchestre
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Hans Werner Henze
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Sinfonia N. 8
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Schott Music - Digital
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SheetMusicPlus
Large orchestra - SKU: S9.Q3053 Composed by Hans Werner Henze. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 25 minu...
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Large orchestra - SKU: S9.Q3053 Composed by Hans Werner Henze. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 25 minutes. Schott Music - Digital #Q3053. Published by Schott Music - Digital (S9.Q3053). ‘My Sinfonia No. 8 is not at all tragic or moody like the Seventh. It is a summer piece and is based on three moments from Shakespeare’s A Midsummer Night’s Dream‘, writes Hans Werner Henze. This, however, is all we get to know from the composer regarding the work’s reference to Shakespeare’s comedy. On closer examination of the three-movement symphony it turns out that the first movement is a fantasia on Oberon’s order to Puck to search for the magic flower. In the second movement, Henze apparently set the love scenes between Titania and Bottom to music. Ultimately, the final movement shines gracefully and peacefully as if everything that had happened before had only been a dream. - Hans Werner Henze2 (1. auch Picc., 2. auch Picc. u. Altfl.) · 2 (2. auch Engl. Hr.) · 2 (2. auch Bassklar.) · 2 (2. auch Kfg.) - 4 · 2 · 1 · Basspos. · 1 - P. S. (3 hg. Beck. · 3 Tamt. · Schellentr. · 3 Tomt. · Mil. Tr. · gr. Tr. [mit u. ohne Beck.] · Tempelbl. · Peitsche · Marimba · Vibr. · Glsp · chin. Gong · Fingerzimb.) (3 Spieler) - Hfe. · Cel. · Klav. - Str.
$47.99
Round Up - Score Only
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Orchestre
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INTERMÉDIAIRE
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Film/TV
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Various
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Chris Siddall
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Round Up - Score Only
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Chris Siddall Music Publishing
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1204655 By Various. By Nigel Westlake. Arranged by Chris Siddall. Film/TV. Score and parts. 12 pages. Chris Siddall M...
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Full Orchestra - Level 3 - SKU: A0.1204655 By Various. By Nigel Westlake. Arranged by Chris Siddall. Film/TV. Score and parts. 12 pages. Chris Siddall Music Publishing #803129. Published by Chris Siddall Music Publishing (A0.1204655). Writer-producer George Miller, the director behind the Mad Max movies, had heard about Dick King-Smith’s children’s book The Sheep-Pig and dreamed about turning it into a movie. When it came to writing the score he turned to Jerry Goldsmith, with whom he had previously collaborated on his segment of Twilight Zone: The Movie (Nightmare at 20,000 Feet). Fate however, stepped in when Jerry sent his work in progress. Miller felt that the music was too beautiful and lyrical, that it should play up the darker moments in the story. With a typically busy schedule, Goldsmith had no time available to rewrite the score, so the process of selecting a replacement began. Babe was being produced in Australia, which made communicating with LA-based composers a challenge, so six local composers were invited to audition, and Nigel Westlake was selected for the role. Westlake deftly weaves well-known classical themes such as Saint-Saens’ Organ Symphony and Delibes’ Pizzicati from the ballet Sylvia into his score, which sparkles and shines like the unprejudiced heart of the titular pig.Created from the original manuscript, this release offers a rare opportunity to study film music in its authentic, original orchestration and arrangement. An opportunity not to be missed!
$9.99
Prime Time Tuesday: Flute
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Orchestre
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Methodes
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Victor López
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Prime Time Tuesday: Flute
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - SKU: AX.00-PC-0015779_F1 Flute. Arranged by Victor López. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Musi...
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Full Orchestra - SKU: AX.00-PC-0015779_F1 Flute. Arranged by Victor López. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0015779_F1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015779_F1). UPC: 038081420110.As heard on a famous Tuesday night comedy show, Glee! With titles like Any Way You Want It, Dream a Little Dream of Me, and Don't Stop Believin', how can anyone go wrong? This medley is guaranteed to be a winner among your students and audiences and will work well with any combination of winds.
$3.00
Prime Time Tuesday: Timpani
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Orchestre
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Methodes
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Victor López
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Prime Time Tuesday: Timpani
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - SKU: AX.00-PC-0015779_TMP Timpani. Arranged by Victor López. Instructional. Part. 1 pages. Alfred Music - Digital Sheet M...
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Full Orchestra - SKU: AX.00-PC-0015779_TMP Timpani. Arranged by Victor López. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0015779_TMP. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015779_TMP). UPC: 038081420110.As heard on a famous Tuesday night comedy show, Glee! With titles like Any Way You Want It, Dream a Little Dream of Me, and Don't Stop Believin', how can anyone go wrong? This medley is guaranteed to be a winner among your students and audiences and will work well with any combination of winds.
$3.00
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A Night Like This
