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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
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UKULELE
VIBRAPHONE
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VIOLONCELLE
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ASIE
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CLASSIQUE - BAROQUE …
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CONTEMPORAIN - NEW A…
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Non classifié
1286
PIANO & CLAVIERS
Piano seul
639
Piano, Voix
231
Piano Facile
120
Piano, Voix et Guitare
111
Orgue
66
Instruments en Do
48
Accompagnement Piano
23
1 Piano, 4 mains
16
Piano Trio: piano, violon, violoncelle
12
2 Pianos, 4 mains
9
Piano Quatuor: piano, violon, alto, violoncelle
5
Accordéon
3
Piano (partie séparée)
3
Piano Quintette: piano, 2 violons, alto, violoncelle
3
Piano grosses notes
3
Orgue, Trompette (duo)
2
Orgue, Piano (duo)
2
Clavecin
1
1 Piano, 6 mains
1
Clavier
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Instrumentations suivantes
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GUITARES
Guitare
63
Guitare notes et tablatures
45
Ligne De Mélodie, (Paroles) et Accords
10
Ukulele
6
Basse electrique
6
Mandoline
5
Guitare (partie séparée)
4
2 Guitares (duo)
4
2 Mandolines (duo)
2
Dulcimer
2
Guitare, Orchestre
1
Piano, Guitare (duo)
1
Banjo
1
2 Ukuleles
1
Instrumentations suivantes
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VOIX
Chorale SATB
293
Chorale 3 parties
81
Chorale TTBB
49
Chorale SSAA
33
Chorale Unison
28
Chorale 2 parties
25
Voix Soprano, Piano
12
Voix Alto, Piano
8
Voix duo
8
Voix haute
5
Voix seule
4
Voix Tenor, Piano
4
Voix Soprano
3
Voix duo, Piano
3
Chorale SSATTB
3
Chorale SSAATTBB
3
Voix Baryton, Piano
2
Soli, choeur mixte et accompagnement
2
Voix moyenne, Piano
1
Chorale SSAB a cappella
1
Voix Mezzo-Soprano, Piano
1
Chorale SSATB
1
Voix Tenor
1
Instrumentations suivantes
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VENTS
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
141
Flûte traversière et Piano
89
Quatuor de Saxophones: 4 saxophones
82
Quintette de Saxophone: 5 saxophones
79
2 Saxophones (duo)
78
Clarinette et Piano
74
Hautbois, Piano (duo)
63
Saxophone Alto et Piano
61
Quatuor de Clarinettes: 4 clarinettes
51
2 Clarinettes (duo)
47
Flûte, Hautbois, Clarinette, Basson
46
Saxophone Soprano et Piano
43
Clarinette
40
Quatuor de Flûtes : 4 flûtes
36
2 Flûtes traversières (duo)
35
Flûte traversière
31
Saxophone, Clarinette (duo)
31
Saxophone Tenor et Piano
28
Flûte, Clarinette (duo)
22
Saxophone Baryton, Piano
21
Clarinette, Violon (duo)
20
Ensemble de Flûtes
20
2 Hautbois (duo)
19
Saxophone (partie séparée)
19
Ensemble de saxophones
18
Cor anglais, Piano
17
3 Saxophones (trio)
17
Hautbois
16
Ensemble de Clarinettes
16
Clarinette Basse, Piano
13
Clarinette, Trompette (duo)
13
Hautbois, Clarinette (duo)
12
Quintette de Clarinettes: 5 clarinettes
12
Flûte, Saxophone (duo)
11
Quintette de Flûte : 5 flûtes
11
Saxophone Alto
11
3 Clarinettes (trio)
11
Flûte, Violon
11
Hautbois, Flûte
10
Hautbois, Basson (duo)
10
Harmonica
10
2 Flûte à bec (duo)
10
Clarinette et Alto
9
Flûte, Trompette (duo)
8
Trio de Flûtes: 3 flûtes
7
Flûte, Alto (duo)
7
Clarinette, Guitare (duo)
7
Hautbois (partie séparée)
6
Flûte, Alto et Piano
5
Hautbois, Clarinette, Basson (trio d'anches)
5
Flûte et Guitare
5
Quatuor de Flûtes à bec
5
Ocarina
4
Flute (partie séparée)
4
Flûte à Bec
4
Saxophone Tenor
4
Flûte à bec Alto
3
Flûte à bec Soprano
3
Clarinette, Basson (duo)
3
Flûte, Clarinette et Basson
3
Saxophone Soprano
2
Flûte, Violon, Piano
2
Flûte à bec Soprano, Piano
2
Saxophone Baryton
2
Clarinette (partie séparée)
2
Cor anglais, Guitare (duo)
2
Saxophone et Guitare
2
5 Flûtes à bec
2
Flûte, Violoncelle
2
Flûte, Clarinette, Piano (trio)
2
Flûte, Hautbois, Clarinette (trio)
2
3 Flûtes à bec (trio)
2
Flûte, Violon et Violoncelle
2
Flûte irlandaise
1
Clarinette, Violoncelle (duo)
1
Clarinette Basse
1
Piccolo, Piano
1
Clarinette, Harpe (duo)
1
Saxophone
1
Flûte traversière, Basse continue
1
Hautbois, Basson et Piano
1
Ensemble De Flûte à bec
1
Ensemble de Hautbois
1
Flûte à bec Alto, Piano
1
Hautbois, Guitare (duo)
1
Clarinette, Violoncelle, Piano (trio)
1
2 Saxophones, Piano
1
Hautbois, Harpe
1
Instrumentations suivantes
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
157
Quatuor de Cuivres : 2 trompettes, trombone, tuba
77
Trompette
49
Trombone et Piano
47
Cor et Piano
47
Trompette, Piano
45
Ensemble de Trompettes
39
Tuba et Piano
29
Cor
27
Quatuor de Cuivres
26
Euphonium, Piano (duo)
22
Trompette, Saxophone (duo)
20
Trombone
20
2 Trombones (duo)
19
2 Trompettes (duo)
18
Trompette (partie séparée)
18
Tuba
18
Cor anglais, Piano
17
Ensemble de Trombones
15
Trombone (partie séparée)
14
Quatuor de Cuivres: 2 trompettes, Cor, trombone
12
Trompette, Trombone (duo)
12
Cor (partie séparée)
8
Tuba (partie séparée)
6
Quatuor de cuivres: 4 trombones
6
2 Cors (duo)
5
Quatuor de cuivres: 4 trompettes
4
4 Tubas
3
3 Trompettes (trio)
3
Quatuor de cuivres: 4 cors
3
Ensemble de Cors
2
Cor anglais, Guitare (duo)
2
3 Trombones (trio)
2
Quatuor de cuivres: 2 trompettes, 2 trombones
2
Euphonium, Tuba (duo)
1
2 Tubas (duo)
1
Trombone basse
1
2 Euphoniums et 2 Tubas
1
Cor, Violoncelle (duo)
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
191
Violon et Piano
122
Alto, Piano
83
Violoncelle, Piano
67
Harpe
51
Violoncelle
44
Violon
43
Violon, Violoncelle (duo)
33
2 Violons (duo)
33
Quintette à cordes: 2 violons, alto, violoncelle, basse
28
Alto seul
28
2 Violoncelles (duo)
27
Contrebasse, Piano (duo)
25
Violon, Alto (duo)
23
2 Altos (duo)
20
Trio à Cordes: violon, alto, violoncelle
19
Contre Basse
17
Trio à Cordes: 2 violons, violoncelle
16
Violon (partie séparée)
8
Contrebasse (partie séparée)
7
Ensemble d'Altos
5
Ensemble de Violons
5
4 Violoncelles
4
Violon, Guitare (duo)
4
Alto (partie séparée)
4
Harpe, Voix
3
Trio à Cordes: 3 violoncelles
3
Trio à cordes: 3 violins
3
Trio à cordes: 3 altos
3
Harpe, Violon (duo)
2
Alto, Violoncelle (duo)
2
Quatuor à cordes : 4 altos
2
2 Contrebasses (duo)
2
Violon, Clarinette, Piano (trio)
2
Quatuor à cordes: 4 violons
2
2 Altos, Piano
1
Violon, Basse continue
1
Violoncelle , Guitare (duo)
1
4 Contrebasses
1
Harpe, Flûte (duo)
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
583
Orchestre
125
Orchestre à Cordes
80
Ensemble Jazz
67
Ensemble de cuivres
60
Orchestre de chambre
38
Fanfare
34
Cloches
28
Batterie
13
Marimba
7
Ensemble de Percussions
6
Vibraphone
5
Jazz combo
5
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
Percussion (partie séparée)
3
Batterie (partie séparée)
3
2 Xylophones
2
Orchestre, Violon
2
Piano et Orchestre
1
Instrumentations suivantes
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AUTRES
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After All This
Orchestre
Partitions à imprimer
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Ballade For An Entablature
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1314855 By All Women's Orchestr…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1314855 By All Women's Orchestra, Norwich, UK. Conducted by Sarah Chadwick. By Geraldine (Denny) Green. 21st Century,Classical,Contemporary,Romantic Period. 56 pages. Geraldine (Denny) Green at Oakmountmusic #903616. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1314855). ALL PURCHASES COME WITH SCORE AND PARTSThis short piece is very dear to my heart and lasts only about 3 minutes. It was written down in 1988 when I was 19, but had been with me in my head since I was about 8. Back then I had no idea how to write down full orchestral music, but after all my teenage years spent feeding off the Great Masters and studying their brilliant orchestrations in scores, I finally made an attempt at notating this florid little piece when I was at college (London College of Music) in 1988. Not wishing to waste it, I have now revised it and finally prepared its score and parts for performance.InstrumentationPiccolo, 2 flutes, 2 oboes, 2 Bflat clarinets, 2 bassoons, 2 French horns in F, 2 Bflat Trumpets, 2 Trombones, Bass trombone, Glock, 2 harps, celesta, large string section to accommodate divisi into 3 for all except the basses.Duration – 3 minutes approx.All the parts are fairly straightforward, except the harps and celesta, which I believe to be of some challenge.If it was to find a place in a concert programme, I believe it would be a lovely encore – a really loving way to send your audience home from a great night out. A thank you to the audience. A Good Night To All kind of piece, full of love and delight.
$45.00
40.98 €
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Orchestre
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All Women's Orchestra, Norwich, UK
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Ballade For An Entablature
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Geraldine
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SheetMusicPlus
Symphony No. 2 ... A Phantasmagorey Ballet (1998)
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.869368 Composed by Thomas Oboe …
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Full Orchestra - Level 4 - Digital Download SKU: A0.869368 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 126 pages. Thomas Oboe Lee #33643. Published by Thomas Oboe Lee (A0.869368). Instrumentation: 3232-4331-timp-2perc-pf-hp-strings. Program note. Nineteen ninety-eight marks the tenth anniversary of my plunge into the world of ballet. I continue to take classes three or four times a week. It's fun, athletic, and challenging. And I'm still working on the basic notion of spotting in my pirouettes ... So when Max Hobart of the Civic Symphony Orchestra of Boston agreed to premiere a new work of mine I knew it had to be a symphonic ballet. Coincidentally, I discovered that my favorite cartoonist, Edward Gorey, is also a balletomane. He lived in New York City between 1953 and 1986 and never missed a single performance of the New York City Ballet. Apparently his leaving New York to live permanently on Cape Cod was prompted by the death of George Balanchine in 1983. Among Edward Gorey's many books there is one, The Gilded Bat, about a young woman, Maud Splaytoe, and her adventures in the ballet world. She dies in the end when the plane she is in flies into a great, dark bird. Hmmm, I thought, The Gilded Bat would make a nice adagio movement. To complete the work, I found four other Gorey books that attracted me in mood and texture: The Nursery Frieze - dogs running across the edge of a nursery ceiling, barking out words whose sequence provides no sense or meaning, e.g., Archipelago, cardamon, obloquy, ignavia, samisen, bandages, wax, Gavelkind, ... ; The Raging Tide - a fantastical story about four creatures, Figbash, Hooglyboo, Naeelah and Skrump, who would not stop abusing each other; The Utter Zoo - an alphabet book of zoo animals of Edward Gorey's concoction, e.g., Ampoo, Boggerslosh, Crunk, Dawbis, Epitwee, ... ; and The Blue Aspic - a macabre story of a mad fan, Jasper Ankle, who stalks an opera diva, Ortenzia Caviglia. When he finally meets her at the stage-door after a performance, he stabs her in the throat and cries, J'ai trouvé Hortense! Symphony No. 2 ... A Phantasmagorey Ballet is in five movements: I. The Nursery Frieze, Con moto. II. The Gilded Bat Adagio: Pas seul for Mirella Splatova, aka Maud SplaytoeIII. The Raging Tide Presto: Pas de Quatre for Figbash, Hooglyboo, Naeelah and Skrump. IV. The Blue Aspic Allegro: Valzer alla Prokofiev ... Pas de deux for Jasper Ankle and Ortenzia Caviglia. V. The Utter Zoo Largo: Grand Funk Finale. This work is dedicated to my wife, Kristin Beckwith, whom I met ten years ago at the Boston Ballet, and who continues to be my one and only ballet teacher.Audio link: https://thomasoboelee.bandcamp.com/album/symphony-no-2-a-phantasmagorey-ballet-1998
$9.99
9.1 €
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Orchestre
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Thomas Oboe Lee
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Symphony No. 2 ... A Phantasmagorey Ballet
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Thomas Oboe Lee
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SheetMusicPlus
A Most Wonderful Christmas: Mallets
Orchestre
Full Orchestra - Digital Download SKU: AX.00-PC-0016180_M1 Mallets. Arranged…
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Full Orchestra - Digital Download SKU: AX.00-PC-0016180_M1 Mallets. Arranged by Robert Sheldon. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0016180_M1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016180_M1). UPC: 038081323527.A fabulous medley for full orchestra or band and orchestra together! Some of the most popular Christmas selections of all time are included in this delightful arrangement that has a complimentary band arrangement by the same title. Winter Wonderland, I'll be Home for Christmas, Santa Claus is Comin' to Town, Have Yourself a Merry Little Christmas and It's the Most Wonderful Time of the Year are featured in this tasteful arrangement. Solo opportunities abound and are cross-cued to allow your best players to shine, while the swing sections and jazz-inspired ballads will have your audience tapping their feet and singing these tunes long after the concert is over. This is certain to become a repertoire standard year after year! (8:30).
$3.00
2.73 €
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Orchestre
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Robert Sheldon
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A Most Wonderful Christmas: Mallets
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Symphony No. 4 "Homage to Beethoven", op. 21a, after his sketches for the Tenth Symphony
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1004734 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1004734 Composed by Adrian Gagiu. 20th Century,Classical. Score and parts. 524 pages. Adrian Gagiu #6631587. Published by Adrian Gagiu (A0.1004734). Fourth Symphony in E flat major Homage to Beethoven (2003, revised 2021), a Neo-Classical symphony based on Beethoven's sketches for his Tenth Symphony, like a speculative reconstruction. In 1822-1827, the fascinating Tenth Symphony (Biamonti 838) was one of Beethoven’s relatively advanced projects, but still it was at the beginning of its elaboration. The material is not quite abundant, and many secondary features in the concept sketches could have been modified, according to his working habits, should he have lived a few years more. For a true reconstruction, the sketches are too scarce, but they are also too good to be left aside and very stimulating for a composer, especially for one whose formation is indebted to Beethoven and who is willing to pay him homage. I have chosen a Neo-Classical idiom, an approach analogous to Stravinsky’s The Fairy’s Kiss (after Tchaikovsky). For such a work, the thorough study of fundamental articles on Beethoven’s projects and sketches (by Barry Cooper, Sieghard Brandenburg, Robert Winter, Martin Staehelin, Nicholas Cook, and Lewis Lockwood) was a necessity. Then, in 2021, the symphony was heavily revised, mainly to make it terser and truer to the sketches and to Classical practices For this symphony, all the thematic material is Beethoven’s, and also the general outline, as much as the latter could be inferred from his sketches. In its revised version, I made use only of the sketches clearly identifiable as intended for the Tenth Symphony and dating from 1822 and later years (most of the themes of its corresponding movements), but also of a few other sketches, most of them contemporary or relatable, unused or intended for other compositions: in the continuation to the second subject group in the first movement, in the second strains of the Presto and of its Trio, and in the transitions and the episodes in the Finale. The symphony has 4 movements and is scored for a normal concert orchestra, including 3 trombones. The revised version makes use also of a contrabassoon, to support the double basses and suggesting a stronger presence of the winds like in the larger scale concerts in the Classical era (usually with doubled winds).Total duration: 34 min. Performing Rights Organization: SOCAN. The mp3 audio clip is a recording of the first movement (Andante-Allegro-Andante).
$49.95
45.48 €
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Orchestre
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Adrian Gagiu
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Symphony No. 4 "Homage to Beethoven", op. 21a, after his sketches for the Tenth Symphony
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Adrian Gagiu
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SheetMusicPlus
Theme and Variations on a Chinese New Year Theme for Extended Orchestra - Set of all parts
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.1027336 Composed by Jeremy Goh,…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1027336 Composed by Jeremy Goh, Daniel Cheng. Contemporary. Score and parts. 78 pages. Jeremy Goh #12125. Published by Jeremy Goh (A0.1027336). We present a work composed as a tongue-in-cheek expression of a popular street tune heard today, put through a series of 5 variations that explore different styles. It works in both a satirical as well as sophisticated manner vertically and horizontally, and uses multiple cliches that will get the audience perking up in recognition. The theme, 贺新年, is a common tune sung in Chinese New Year celebrations. In the heart of celebrating the New Year, this piece is written playable by musicians of all ages, whether in schools or as community orchestras and bands, to come together by the common celebratory notion in a work for an extended orchestra, including the saxophone and euphonium. Written by Daniel Cheng and Jeremy Goh, we hope that this season this piece can bring both laughter and reverence to the street tune, blown out of proportion in style and size. Starting the work is an atonal entry, built on tone rows and planing, legacies of Shoenberg and his contemporaries, before decomposing into an exceedingly lively statement of the theme. This is then juxtaposed beside a trip to tribal communities with interlocking rhythms and a modal distortion of the melody. From the modal mess and deviation from diatonicism, we then return to the prim and proper style of Mozart and Haydn in a short Classical variation. As if to mock its neat stature, this then is shattered with a juxtaposition beside a variation in the style of Shostakovich, modelled after the controversial Leningrad symphony, which draws on a different dimension of the theme, its banality, and propagating and emulsifying it to terrifying levels as it is distorted. Finally, a schreckenfanfare is directed marking an entry into a tribute to one of the greatest legends in music composition, with Beethoven along with its transcendental qualities of cyclism, and use of learned styles, methods of maintaining tension etc., bringing a grand ending to the 10 minute long work.
$4.99
4.54 €
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Orchestre
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Jeremy Goh, Daniel Cheng
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Theme and Variations on a Chinese New Year Theme for Extended Orchestra - Set of all parts
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Jeremy Goh
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SheetMusicPlus
THE GREAT WALL CONCERTO For Piano & Orchestra
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1316174 By ROBERT VAN HORNE. By…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1316174 By ROBERT VAN HORNE. By ROBERT VAN HORNE. Classical,Contemporary,Film/TV,Multicultural,Romantic Period,World. 175 pages. White Piano International Publishing #904561. Published by White Piano International Publishing (A0.1316174). THE GREAT WALL CONCERTO for Piano & Orchestra by ROBERT VAN HORNE175 PagesPiano & Full Orchestra – AdvancedConductor Score & All Instrumental Parts IncludedApprox. Duration 13 minutes; 30 secondsComposing THE GREAT WALL CONCERTO for Piano & Orchestra was a journey of inspiration, passion, and deep personal connection for me. Having traveled to China, I was most impressed with seeing the Great Wall. Years later, I composed a musical work for piano and orchestra - a creative and classic concerto that captures the Great Wall's grandeur and majestic attraction.My first visit to the Great Wall of China was in 1983 while engaged as a pianist onboard a cruise ship that sailed the waters of Asia. My first impression seeing the Great Wall and the scenic landscape surrounding it, was one of awe and amazement.At that time, I did not realize the lasting effect this memorable attraction would have on me. Inspired and motivated by several cherished Chinese excursions to the Great Wall during my cruise ship engagement, I began the monumental task of scoring music for piano and orchestra several years later. An excerpt from 2008 Music Teacher of California Magazine review states “…The Great Wall Concerto is pleasant to listen to and has a retro 1940’s movie soundtrack mood about it - Rachmaninoff style chords against melodies in the strings...Listening to this piece, I imagined a film starring Joan Fontaine and Claude Rains as star crossed lovers fleeing their respective spouses on a visit to China.â€After many years of offering the score directly to Music Directors around the world, I am now publishing THE GREAT WALL CONCERTO with Sheet Music Plus and Sheet Music Direct.THE GREAT WALL CONCERTO is an ideal work for professional, semi-professional, pops, college and university orchestras as well as community orchestras. It can be added to any concert program featuring a guest piano soloist, and a violinist or erhu soloist.The Conductor’s Score and all Instrumental Parts are legibly notated with phrasing, dynamics, accents, and musical word descriptions. All the individual instrument parts have easy page turns with large readable scores.This 2006 recording of THE GREAT WALL CONCERTO is for demo purposes only. Except for the piano, all other instruments are digital samples. This recording does not include all the instrumental parts being heard. THE GREAT WALL CONCERTO arrangement for Two Pianos, Four Hands is also available and published by White Piano International Publishing. Robert Van Horne is a member of ASCAP.Official Website: www.robertvanhorne.comEmail: rvh@robertvanhorne.com
$59.99
54.63 €
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Orchestre
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ROBERT VAN HORNE
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THE GREAT WALL CONCERTO For Piano & Orchestra
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White Piano International Publishing
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SheetMusicPlus
Amazing Grace: Mallets
Orchestre
Full Orchestra - Digital Download SKU: AX.00-PC-0014686_M1 Mallets. Arranged…
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Full Orchestra - Digital Download SKU: AX.00-PC-0014686_M1 Mallets. Arranged by Elliot Del Borgo. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0014686_M1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0014686_M1). UPC: 029156914443.Without a doubt, the most recognized hymn tune ever written is Amazing Grace. This simple yet beautiful melody crosses all musical boundaries. A simple stating of that melody begins this vibrant new setting, and the harmonic framework builds to a dramatic concluding statement. Playable by strings alone or by adding percussion and any winds up to full orchestra, this work will suit your concert needs year after year. (3:23)Concert/Contest.
$3.00
2.73 €
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Orchestre
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Elliot Del Borgo
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Amazing Grace: Mallets
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Paisano Suite
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.814731 Composed by Richard E Br…
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Full Orchestra - Level 4 - Digital Download SKU: A0.814731 Composed by Richard E Brown. Contemporary,Standards. Score and parts. 232 pages. Dacker Music #2991487. Published by Dacker Music (A0.814731). The music of Paisano Suite was composed in 1982 for the Austin Ballet Theatre on a grant from the City of Austin. The resulting ballet was produced in February, 1983 under the title Ballabile, with choreography by ABT Artistic Director Stanley Hall.This music was originally scored for a small pit orchestra, and it was only in 2012 that it was shortened and re-orchestrated to create this suite for full orchestra. Since the original title is a term used specifically for dance music, and the new version of the work is meant to be a concert suite rather than a ballet, it was also re-titled after the Paisano Ranch, in the central Texas Hill Country, where it was originally composed and which served as its inspiration.The entire nearly twenty-minute suite is actually based on a fairly modest amount of musical material and the eight short movements are thematically all very closely related. The overall framework is highly unified in that way.Scored for woodwinds, horns, and trumpets in pairs; 1 trombone, tympani, and strings.1. Prelude 2. Scherzo 3. Berceuse 4. Fugue 5. Pastorale 6. Caprice 7. Romanza 8. FinaleThe price includes license to make as many copies of string parts as necessary.Grade 5 - Duration 19:00
$80.00
72.85 €
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Orchestre
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Richard E Brown
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Paisano Suite
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Dacker Music
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SheetMusicPlus
Rachmaninoff: Alla Marcia in g Minor | Full Orchestra (Set of Parts)
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.998578 Composed by Sergei Rachm…
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Full Orchestra - Level 3 - Digital Download SKU: A0.998578 Composed by Sergei Rachmaninoff. Arranged by Michael Barrera. Romantic Period. 76 pages. Michael Barrera #6256209. Published by Michael Barrera (A0.998578). Https://www.michaelbarreraflute.com/shop/p/alla-marcia-orchestra-parts Program Notes Sergei Rachmaninoff’s Alla Marcia in g Minor is arguably one of his most popular pieces that is still played today. This prelude was included as number 5 in his Opus 23, a set of ten preludes for solo piano. Rachmaninoff himself premiered this prelude in Moscow in 1903, along with Preludes 1 and 2 from this set. It begins with quiet yet decisive sixteenth note figures setting the mood for a minor march. Following this, the relative major Eb comes in full force expanding this sixteenth note figure with a descant-like melody. After a return to g minor, the energy of the opening march dissipates as a new lyrical melody takes the forefront, accompanied by sweeping arpeggios. This section is much melancholier than before. As this theme fades, the march returns slowly out of the mist that the previous section created. It builds to the return of the Eb major section that leads into a continuation of the march theme. This fades into a quick rising figure to finish the prelude. This arrangement captures both the energy of the march and the beauty of the lyrical middle section. Instrumentation 2 Flutes 2 Oboes 2 Clarinets (B flat) 2 Bassoons 4 Horns (F) 3 Trumpets (B flat) 2 Trombones 1 Bass Trombone 1 Tuba Timpani Snare Drum Tambourine Harp (substitute piano if necessary) Violins I and II Viola Violincello Double Bass.
$79.99
72.84 €
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Orchestre
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Sergei Rachmaninoff
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Michael Barrera
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Rachmaninoff: Alla Marcia in g Minor | Full Orchestra
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Michael Barrera
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SheetMusicPlus
Sunrise Calls. First Movement of Orchestral Suite 'Heliodorus'.
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.1028487 Composed by Marcus Mota…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1028487 Composed by Marcus Mota. 20th Century,Contemporary,World. Score and parts. 13 pages. Marcus Mota #3539039. Published by Marcus Mota (A0.1028487). Orchestral Suite in seven movements. Here the first movement.The Suite was composed based on Heliodorus'Aithiopika. Aithiopika is an ancient greek novel that mixes love and adventure. This novel was so influent in Post-Renascence: Cervantes, Shakespeare, Racine loved it. Verdi's Aida argument is in part based on Aithiopika. In this first movement, we follow the first scenario of the novel: we are presented to the natural setting that opens the novel: we are facing on preliminary doubts and omens after the impact of the sunrise upon the creatures on stage. .
$5.00
4.55 €
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Orchestre
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Marcus Mota
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Sunrise Calls. First Movement of Orchestral Suite 'Heliodorus'.
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Marcus Mota
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SheetMusicPlus
"Prayer" (after Mozart) from Orchestral Suite No. 3
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1237996 Composed by Piotr Tchai…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1237996 Composed by Piotr Tchaikovsky. Arranged by Paul Ferington. Classical,Lent,Religious,Romantic Period,Sacred. Score and Parts. 27 pages. Paul K Ferington #833464. Published by Paul K Ferington (A0.1237996). A powerful 3:30 arrangement of Tchaikovsky's tribute to Mozart, from Tchaikovsky's Orchestral Suite No. 3;  this instrumental setting of Mozart's choral work Ave Verum Corpus K. 618 is the 3rd movement in this Suite, here expanded to include additional wind parts with the strings; perfect for church orchestras as an opening Prelude, Offertory, or in services celebrating Communion. (Violins are on one part with optional divisi;  violas play a few measures of treble clef, and bassoons/cellos a few measures of tenor clef, all due to the high ranges of Tchaikovsky's notation.) Tchaikovsky uses the key of Bb major and this is retained.
$18.95
17.26 €
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Orchestre
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Piotr Tchaikovsky
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Paul Ferington
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"Prayer"
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Paul K Ferington
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SheetMusicPlus
General's Suite Macarthur Patton - Score Only
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1450384 Composed by Jerrald K G…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1450384 Composed by Jerrald K Goldsmith. Arranged by Chris Siddall. Film/TV. 39 pages. Chris Siddall Music Publishing #1030115. Published by Chris Siddall Music Publishing (A0.1450384). When composer Jerry Goldsmith was asked to write the score for MacArthur, people were surprised that he accepted the project because they wondered what he would have left to say, musically, after Patton. Jerry‘s feeling was that MacArthur was a totally different person, and it would be a real challenge to write about another military figure but do it in a different manner. He said “it‘s much more flamboyant in a different sort of way, and it was an interesting task“. Patton enjoyed resounding critical praise and has since been elevated to the designation of a classic. The film won Academy Awards for nearly all of its major players, with composer Jerry Goldsmith being an unfortunate exception. Goldsmith had already written many scores for World War II topics in his short mainstream career, but none would prove as memorable in any part as the march from Patton, a concert hall staple for the composer throughout his career. Despite the dominance of this theme and the fact that only roughly thirty minutes of music was employed in such a long picture, the effect of his score on the film is far more complicated than many people may realize. While the famous march, with all its bravado from brass, flutes, and snare, easily represents the identity of the character and war, Goldsmith’s work for the film actually spends more time dwelling on the deeper meanings of life that the general himself explored.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!
$19.99
18.2 €
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Orchestre
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Jerrald K Goldsmith
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Chris Siddall
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General's Suite Macarthur Patton - Score Only
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Chris Siddall Music Publishing
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SheetMusicPlus
Sleazy Louise
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.1009742 Composed by Richard Bow…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1009742 Composed by Richard Bowyer. Contemporary. Score and parts. 66 pages. Richard Bowyer #2026973. Published by Richard Bowyer (A0.1009742). Fat Fred and Sleazy Louise Got together one day; Fat Fred was easy to please, And she was going his way.... This is a reworking of a fun piece I originaally wrote over 30 years ago, and I have to admit that after all this time I can't actually remember why I gave it the title Sleazy Louise. But in the slow, smoochy middle section (not included in the sample recording) you'll hear that there is something a bit disreputable, down-at-heel and nicotine-stained about this lady. Scored for full orchestra, including alto and tenor saxophones, there are optional additional parts for baritone saxophone, Eb horn, treble clef trombone in Bb, easy violin and descant recorder. The violin cues in the clarinet part should only be played if the violins need reinforcing. Sleazy Louise has been performed in several countries, notably when some orchestral players fitted silly words to it and sang it to startled onlookers in Red Square, Moscow!
$50.00
45.53 €
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Orchestre
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Richard Bowyer
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Sleazy Louise
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Richard Bowyer
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SheetMusicPlus
Rachmaninoff: Alla Marcia in g Minor ~ Full Orchestra (Score)
Orchestre
Full Orchestra - Intermediate - Digital Download Composed by Sergei Rachmaninoff (187…
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Full Orchestra - Intermediate - Digital Download Composed by Sergei Rachmaninoff (1873-1943). Arranged by Michael Barrera. Romantic Period. Score. 16 pages. Published by Michael Barrera
ProgramNotes<br> <br> Sergei Rachmaninoff’s Alla Marciain g Minor is arguably one of his most popular pieces that is still playedtoday. This prelude was included asnumber 5 in his Opus 23, a set of ten preludes for solo piano. Rachmaninoff himself premiered this preludein Moscow in 1903, along with Preludes 1 and 2 from this set. It begins with quiet yet decisive sixteenthnote figures setting the mood for a minor march. Following this, the relative major Eb comesin full force expanding this sixteenth note figure with a descant-like melody. After a return to g minor, the energy of theopening march dissipates as a new lyrical melody takes the forefront,accompanied by sweeping arpeggios. Thissection is much melancholier than before. As this theme fades, the march returns slowly out of the mist that theprevious section created. It builds tothe return of the Eb major section that leads into a continuation of the marchtheme. This fades into a quick risingfigure to finish the prelude. Thisarrangement captures both the energy of the march and the beauty of the lyricalmiddle section.<br> <br> <br> <br> Instrumentation<br> <br> 2 Flutes<br> <br> 2 Oboes<br> <br> 2 Clarinets (B flat)<br> <br> 2 Bassoons<br> <br> 4 Horns (F)<br> <br> 3 Trumpets (B flat)<br> <br> 2 Trombones<br> <br> 1 Bass Trombone<br> <br> 1 Tuba<br> <br> Timpani<br> <br> Snare Drum<br> <br> Tambourine<br> <br> Harp (substitute piano ifnecessary)<br> <br> Violins I and II<br> <br> Viola<br> <br> Violincello<br> <br> Double BassProgramNotes<br> <br> Sergei Rachmaninoff’s Alla Marciain g Minor is arguably one of his most popular pieces that is still playedtoday. This prelude was included asnumber 5 in his Opus 23, a set of ten preludes for solo piano. Rachmaninoff himself premiered this preludein Moscow in 1903, along with Preludes 1 and 2 from this set. It begins with quiet yet decisive sixteenthnote figures setting the mood for a minor march. Following this, the relative major Eb comesin full force expanding this sixteenth note figure with a descant-like melody. After a return to g minor, the energy of theopening march dissipates as a new lyrical melody takes the forefront,accompanied by sweeping arpeggios. Thissection is much melancholier than before. As this theme fades, the march returns slowly out of the mist that theprevious section created. It builds tothe return of the Eb major section that leads into a continuation of the marchtheme. This fades into a quick risingfigure to finish the prelude. Thisarrangement captures both the energy of the march and the beauty of the lyricalmiddle section.<br> <br> <br> <br> Instrumentation<br> <br> 2 Flutes<br> <br> 2 Oboes<br> <br> 2 Clarinets (B flat)<br> <br> 2 Bassoons<br> <br> 4 Horns (F)<br> <br> 3 Trumpets (B flat)<br> <br> 2 Trombones<br> <br> 1 Bass Trombone<br> <br> 1 Tuba<br> <br> Timpani<br> <br> Snare Drum<br> <br> Tambourine<br> <br> Harp (substitute piano ifnecessary)<br> <br> Violins I and II<br> <br> Viola<br> <br> Violincello<br> <br> Double Bass
$24.99
22.76 €
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Orchestre
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Sergei Rachmaninoff
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Michael Barrera
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Rachmaninoff: Alla Marcia in g Minor ~ Full Orchestra
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Michael Barrera
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SheetMusicPlus
Spanish National Anthem for Symphony Orchestra (Kt Olympic Anthem Series)
Orchestre
Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de lo…
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Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de los Monteros (1730-1810). Arranged by Keith Terrett. Classical Period, European, Patriotic. 30 pages. Published by Music for all Occasions
The Spanish National Anthem arranged for full Symphony Orchestra, there is a short version in my store in case you need it! Just need a sporting event now such as an Olympics!<br> <br> The Marcha Real (Spanish pronunciation: [ˈmartʃa reˈal], "Royal March") is the national anthem of Spain. It is one of only three national anthems (along with that of Bosnia and Herzegovina and the Republic of Kosovo) in the world to have no official lyrics.<br> <br> One of the oldest in the world, the anthem was first printed in a document dated 1761 and entitled Libro de la Ordenanza de los Toques de Pífanos y Tambores que se tocan nuevamente en la Ynfant° Española (Book of the Ordenance of Newly Played Military Drum and Fife Calls by The Spanish Infantry ), by Manuel de Espinosa. Here it is entitled La Marcha Granadera ("March of the Grenadiers"). There is written its score on this book. According to this document, Manuel de Espinosa de los Monteros is the composer.<br> <br> There is a false belief that Marcha Real’s author was Frederick II of Prussia, a great lover of music. This belief started in 1861 when it appears for the first time publied in La España militar (The Militar Spain). In 1864, the colonel Antonio Vallecillo publishes the history in the diary El Espíritu Público (The Public Spirit), making the supposed Prussian origin of Marcha Real popular. According to Vallecillo, the anthem was a gift from Frederick II to the soldier Juan Martín Álvarez de Sotomayor, who was serving in the Prussian Court to learn the military tactics developed by Frederick II’s army, under orders of King Charles III. In 1868 the history is published in Los Sucesos, changing the destinatary of the gift with Pedro Pablo Abarca de Bolea, Count of Aranda. The myth was picked up like this in different publications of 1884 and 1903, until being included in 1908 in the Enciclopedia Espasa.<br> <br> According to the tradition in 1770, Charles III declared the Marcha de Granaderos as the official Honor March, and with that formalized the habit of playing it in public and solemn acts. It became the official anthem during Isabel II’s reign.<br> <br> After the 1868 Revolution, General Prim convoked a national contest to create an official anthem, but it was declared deserted, advising the jury that Marcha de Granaderos was considered as such. By Alfonso XIII’s time, it was established by a Royal Circular Order (27 August 1908) that interpreted the harmonization of the march done by Bartolomé Pérez Casas, Major Music of the Royal Corps of Halberdier Guards. During the Second Republic, Himno de Riego was adopted as official anthem, although after the Spanish Civil War, Marcha Real returned to be used as anthem, sometimes sung with the verses written by the poet José María Pemán in 1928.<br> <br> The actual symphonic version of the Marcha Real that replaces the Pérez Casas one, belongs to maestro Francisco Grau and is the official one after the Royal Decree of 10 October 1997, when the Kingdom of Spain bought the author rights of the Marcha Real, then belonging to Pérez Casas’ Heirs. According to the Royal Decree 1560/1997, the anthem should have a tone of B major and a tempo of 76 bpm (♩=76), with a form of AABB and a duration of 52 seconds.<br> <br> Under the Trienio Liberal (1820-1823), the First Spanish Republic (1873–74) (when it enjoyed of a co-officiality) and the Second Spanish Republic (1931–1939), El Himno de Riego replaced La Marcha Real as the national anthem of Spain. At the conclusion of the Civil War, however, Francisco Franco restored La Marcha Real as the country’s national anthem, under its old title of La Marcha Granadera.<br> <br> Interpretation and etiquette:<br> <br> Military bands of the Spanish Armed Forces and the National Police Corps of Spain and civilian Marching bands and Concert bands play the B flat-major version of the anthem adapted for wind bands (as arranged by Francisco Grau), and playing the A Major version is optional.<br> <br> The bugle call "To the Colors" in Spain is the version played by Bugle bands in Spanish churches in religious occasions and processions organized by civil groups and the parishes. Various versions adapted for the drum and the bugle are used, even though brass instruments play the anthem as well. But in some bugle bands, the A flat version of the anthem (the old official one, adapted for the bugle) is played. Only a bugle call is sounded when the B flat version is played.<br> <br> Being the National Anthem, and in honor of the King and Queen of Spain, it’s a common practice for all to stand once it is played. Even though it is also played in church events, respect for the King and Queen (and the Royal Family as well) is required by everyone in attendance. As it happens civilians stand at attention while those in uniform salute when not in formation.<br> <br> The current official version, as described in Royal Decree 1560/1997, is a sixteen-bar long phrase, divided in two sections, each one is made up of four repeated bars (AABB form). Tempo is set to ♩= 76 and key to B flat.<br> <br> The long, complete version is the honors music for the King, while a shorter version without the repetitions is performed for the President of the Government of Spain, the Prince of Asturias, or during sporting events.<br> <br> There are also three official arrangements: one for orchestra, another for military band, and a third for organ, written by Francisco Grau Vegara and requested by the Government of Spain. All in all, there are six different official adaptations, for each arrangement and length. They all were recorded by the Spanish National Orchestra and the Spanish Royal Guard Band as an official recording and released on compact disc for a limited period of time.<br> <br> As the harmonization of the Marcha Real was written by Bartolomé Pérez Casas in the early 1900s, the copyright has not yet expired. The government bought it from Pérez Casas’ estate in 1997 for 130,000,000 pesetas (~ € 781,316) to avoid future legal problems. Until it expires, the copyright belongs to the Ministry of Culture and collecting societies charge copyright fees, which has led to criticism.<br> <br> As a result, many different harmonisations have been devised by performers to avoid paying. Nonetheless, the rights to the 1997 Francisco Grau revision were transferred to the government at no charge, although they were not placed in the public domain.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.comThe Spanish National Anthem arranged for full Symphony Orchestra, there is a short version in my store in case you need it! Just need a sporting event now such as an Olympics!<br> <br> The Marcha Real (Spanish pronunciation: [ˈmartʃa reˈal], "Royal March") is the national anthem of Spain. It is one of only three national anthems (along with that of Bosnia and Herzegovina and the Republic of Kosovo) in the world to have no official lyrics.<br> <br> One of the oldest in the world, the anthem was first printed in a document dated 1761 and entitled Libro de la Ordenanza de los Toques de Pífanos y Tambores que se tocan nuevamente en la Ynfant° Española (Book of the Ordenance of Newly Played Military Drum and Fife Calls by The Spanish Infantry ), by Manuel de Espinosa. Here it is entitled La Marcha Granadera ("March of the Grenadiers"). There is written its score on this book. According to this document, Manuel de Espinosa de los Monteros is the composer.<br> <br> There is a false belief that Marcha Real’s author was Frederick II of Prussia, a great lover of music. This belief started in 1861 when it appears for the first time publied in La España militar (The Militar Spain). In 1864, the colonel Antonio Vallecillo publishes the history in the diary El Espíritu Público (The Public Spirit), making the supposed Prussian origin of Marcha Real popular. According to Vallecillo, the anthem was a gift from Frederick II to the soldier Juan Martín Álvarez de Sotomayor, who was serving in the Prussian Court to learn the military tactics developed by Frederick II’s army, under orders of King Charles III. In 1868 the history is published in Los Sucesos, changing the destinatary of the gift with Pedro Pablo Abarca de Bolea, Count of Aranda. The myth was picked up like this in different publications of 1884 and 1903, until being included in 1908 in the Enciclopedia Espasa.<br> <br> According to the tradition in 1770, Charles III declared the Marcha de Granaderos as the official Honor March, and with that formalized the habit of playing it in public and solemn acts. It became the official anthem during Isabel II’s reign.<br> <br> After the 1868 Revolution, General Prim convoked a national contest to create an official anthem, but it was declared deserted, advising the jury that Marcha de Granaderos was considered as such. By Alfonso XIII’s time, it was established by a Royal Circular Order (27 August 1908) that interpreted the harmonization of the march done by Bartolomé Pérez Casas, Major Music of the Royal Corps of Halberdier Guards. During the Second Republic, Himno de Riego was adopted as official anthem, although after the Spanish Civil War, Marcha Real returned to be used as anthem, sometimes sung with the verses written by the poet José María Pemán in 1928.<br> <br> The actual symphonic version of the Marcha Real that replaces the Pérez Casas one, belongs to maestro Francisco Grau and is the official one after the Royal Decree of 10 October 1997, when the Kingdom of Spain bought the author rights of the Marcha Real, then belonging to Pérez Casas’ Heirs. According to the Royal Decree 1560/1997, the anthem should have a tone of B major and a tempo of 76 bpm (♩=76), with a form of AABB and a duration of 52 seconds.<br> <br> Under the Trienio Liberal (1820-1823), the First Spanish Republic (1873–74) (when it enjoyed of a co-officiality) and the Second Spanish Republic (1931–1939), El Himno de Riego replaced La Marcha Real as the national anthem of Spain. At the conclusion of the Civil War, however, Francisco Franco restored La Marcha Real as the country’s national anthem, under its old title of La Marcha Granadera.<br> <br> Interpretation and etiquette:<br> <br> Military bands of the Spanish Armed Forces and the National Police Corps of Spain and civilian Marching bands and Concert bands play the B flat-major version of the anthem adapted for wind bands (as arranged by Francisco Grau), and playing the A Major version is optional.<br> <br> The bugle call "To the Colors" in Spain is the version played by Bugle bands in Spanish churches in religious occasions and processions organized by civil groups and the parishes. Various versions adapted for the drum and the bugle are used, even though brass instruments play the anthem as well. But in some bugle bands, the A flat version of the anthem (the old official one, adapted for the bugle) is played. Only a bugle call is sounded when the B flat version is played.<br> <br> Being the National Anthem, and in honor of the King and Queen of Spain, it’s a common practice for all to stand once it is played. Even though it is also played in church events, respect for the King and Queen (and the Royal Family as well) is required by everyone in attendance. As it happens civilians stand at attention while those in uniform salute when not in formation.<br> <br> The current official version, as described in Royal Decree 1560/1997, is a sixteen-bar long phrase, divided in two sections, each one is made up of four repeated bars (AABB form). Tempo is set to ♩= 76 and key to B flat.<br> <br> The long, complete version is the honors music for the King, while a shorter version without the repetitions is performed for the President of the Government of Spain, the Prince of Asturias, or during sporting events.<br> <br> There are also three official arrangements: one for orchestra, another for military band, and a third for organ, written by Francisco Grau Vegara and requested by the Government of Spain. All in all, there are six different official adaptations, for each arrangement and length. They all were recorded by the Spanish National Orchestra and the Spanish Royal Guard Band as an official recording and released on compact disc for a limited period of time.<br> <br> As the harmonization of the Marcha Real was written by Bartolomé Pérez Casas in the early 1900s, the copyright has not yet expired. The government bought it from Pérez Casas’ estate in 1997 for 130,000,000 pesetas (~ € 781,316) to avoid future legal problems. Until it expires, the copyright belongs to the Ministry of Culture and collecting societies charge copyright fees, which has led to criticism.<br> <br> As a result, many different harmonisations have been devised by performers to avoid paying. Nonetheless, the rights to the 1997 Francisco Grau revision were transferred to the government at no charge, although they were not placed in the public domain.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com
$39.00
35.51 €
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Orchestre
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Manuel de Espinosa de los Monteros (1730-1810)
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Keith Terrett
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Spanish National Anthem for Symphony Orchestra
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Music for all Occasions
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SheetMusicPlus
Where Eagles Dare (Theme) - Score Only
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.1402356 Composed by Ron Goodwin…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1402356 Composed by Ron Goodwin. Arranged by Chris Siddall. Film/TV. 33 pages. Chris Siddall Music Publishing #985569. Published by Chris Siddall Music Publishing (A0.1402356). While his scores for both 633 Squadron (1963) and Operation Crossbow (1965) had boasted patriotic, major-key themes celebrating the heroics of the protagonists, composer Ron Goodwin took a different approach for Where Eagles Dare, generating his main theme for the picture out of the initial notes of an ascending minor scale. Rather than celebrate the heroics of the screen characters, the title music embodies the single-minded ambition of the protagonists to infiltrate the mountain fortress of Schloss Adler and complete their mission, no matter what the costs. The composer recalled in a 1994 interview that some of this approach came from the filmâ??s director, Brian Hutton. For instance, he wanted music at the beginning of the film but he also wanted to hear the airplane engines approaching from the distance, which is actually why he started off with just the side drums playing quietly and then building up and getting louder, so that you could actually hear the sound of the airplane before the orchestra comes in. After the snare drum and the â??Aâ? section of the main title comes a melodically related fugal section that, the composer told Randall D. Larson in 1984, was an idea that arose from the â??concept of people following each other around and dodging away from each other...[which] gave me the idea of writing a sort of fugue-style theme...and then I used that in various ways for all the sort of creeping and following and chasing that was going on throughout the film.â?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!
$14.99
13.65 €
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Orchestre
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Ron Goodwin
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Chris Siddall
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Where Eagles Dare
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Chris Siddall Music Publishing
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
Orchestre
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download 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
22.76 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Arkady Leytush
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
Orchestre
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download 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
22.76 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes
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Arkady Leytush
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
Orchestre
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download 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
22.76 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Arkady Leytush
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SheetMusicPlus
EP!C!!!
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1031686 Composed by Austin Wint…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1031686 Composed by Austin Wintory. Contemporary. Score and parts. 39 pages. Austin Wintory #3512243. Published by Austin Wintory (A0.1031686). EP!C!!! is an overture-sized orchestral work, originally commissioned by the West Michigan Symphony in 2016. It is intended as a higher energy opener or Act 1 closer. Program notes:Entirely by mistake, EP!C!!! is study in conflict. The piece began with a simple premise: compose a work which teases some of the pervasive clichés of today’s musical landscape (particularly the Hollywood or so-called media music scenes). Those clichés are primarily two gestures: 1) a progression of chords, often called the Chords of Destiny (consisting of i – VI – III – VIII) and 2) an endlessly repeating minor third ostinato.The conflict emerged internally when, after multiple false starts, I would quickly start to hate the piece because it felt like the clichés were being presented whole cloth, without the slightest sense of irony. I became deeply paranoid that the music wasn’t in on its own joke. When I would reverse course, it felt condescending, as though it were declaring from some erudite ivory tower that it was above those gestures. The trouble particularly with the latter is that clichés become so for a reason; something genuinely compelling becomes so ubiquitous that it loses some of the freshness, but that doesn’t erase what initially made it compelling. So the piece needed to somehow make fun of the fact that these gestures are cliché, while not dismissing their intrinsic value. And indeed, to celebrate that value!It took a long time to find my place between those two extremes, and ultimately I think the music that emerged is actually the conflict itself manifest. The two gestures are this constant presence, almost like a seductive temptation, that are initially regarded as distractions, but eventually become the music’s core. It’s as though the music finally decided to just relent and find something to truly love and celebrate within these overwrought ideas, haters be damned.However, for the sake of total clarity of intention, I couldn’t resist some on-the-nose tongue-in-cheek. The little cameo of Haydn’s lulling 94th Symphony 2nd movement tune is my way of saying you think classical music is epic??? THEN LISTEN TO THIS SH*T!!! before inevitably popping open a Mountain Dew and snowboarding into an avalanche.- Austin Wintory, October 21, 2016
$40.00
36.42 €
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Orchestre
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Austin Wintory
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EP!C!!!
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Austin Wintory
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SheetMusicPlus
Symphony No. 6 ... The Penobscot River (2004) for chorus and orchestra
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.869295 Composed by Thomas Oboe …
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Full Orchestra - Level 4 - Digital Download 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
9.1 €
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Orchestre
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Thomas Oboe Lee
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Symphony No. 6 ... The Penobscot River
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Thomas Oboe Lee
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SheetMusicPlus
The American Seasons (violin solo part – violin and string orchestra)
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.861925 Composed by Mark O'Conno…
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Full Orchestra - Level 5 - Digital Download 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
20.49 €
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Orchestre
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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
The American Seasons (2nd violins part – violin and string orchestra)
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.861930 Composed by Mark O'Conno…
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Full Orchestra - Level 5 - Digital Download 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
13.66 €
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Orchestre
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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
Fêtes Galantes : 1er Tableau - Les Masques for solo/mixed chorus and orchestra - Score Only
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1086971 Composed by Claude Debu…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1086971 Composed by Claude Debussy/Robert Orledge. Classical,Contemporary,Opera. Score and parts. 32 pages. Musik Fabrik Music Publishing #691161. Published by Musik Fabrik Music Publishing (A0.1086971). Scored for baritone (or counter-tenor) soloist, mixed chorus and orchestra (2222/2200/timp/2perc/hp/cel/mand/strings). Fêtes galantes was actually planned as a hybrid opera-ballet to a libretto by Debussy’s friend Louis Laloy in November, 1913. For this, Laloy arranged selected poetry by Paul Verlaine into three tableaux, replacing an earlier (unstarted) Debussyan project with Charles Morice of 1912 entitled Crimen amoris. During his last productive summer of 1915, Debussy set a sequence from the start of the first tableau, ‘Les Masques’, involving stanzas 1 and 3 of the opening song for Mezzetin in Verlaine’s comedy Les Uns et les autres (1884). The action is set in a park à la Watteau late one summer afternoon as Mezzetin attempts to entertain a group of nonchalant masqueraders with only the aid of his voice and a mandolin.. This appears to have been prefaced by a slower, elegiac introduction reminiscent of the opening of the comtemporary Cello Sonata and it leads to a danced minuet by the masqued dancers which has clear echoes of the piano piece L’Isle joyeuse (1904). Following Laloy’s scenario, the masqueraders then sing extracts from Verlaine’s ‘A la promenade’ (from Fêtes galantes itself). The minuet returns at greater length before being cut short by a chilly gust of wind, after which the park returns to its orginal state (and music) as though nothing had really happened.
$24.95
22.72 €
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Orchestre
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Claude Debussy/Robert Orledge
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Fêtes Galantes : 1er Tableau - Les Masques for solo/mixed chorus and orchestra - Score Only
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Musik Fabrik Music Publishing
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SheetMusicPlus
Feed The Birds (Tuppence A Bag)
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1509331 Composed by Richard M. …
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Full Orchestra - Level 4 - Digital Download SKU: A0.1509331 Composed by Richard M. Sherman and Robert B. Sherman. Arranged by John Langley (Studio Orchestrations). Broadway,Children,Christmas,Film/TV,Musical/Show,Standards. 88 pages. Www.studio-orchestrations.com #1084580. Published by www.studio-orchestrations.com (A0.1509331). For vocal soloist, (Optional SATB chorus) and Orchestra in G MajorBrothers Richard Sherman and Robert Sherman were two of the finest song writers of all time, creating iconic family friendly songs and scores for many Disney films including Mary Poppins (1964), Chitty Chitty Bang Bang (1968), and Bedknobs and Broomsticks (1971) and the animated films The Sword in the Stone (1963), The Jungle Book (1967), Charlotte's Web (1973), The Aristocats (1970), and of course the theme park songs There's A Great Big Beautiful Tomorrow and It's A Small World (After All). The score for Mary Poppins is especially perfect with so many immortal songs like Chim chimeney, Spoonful of sugar, Fly a kite, Supercali ........ and of course the simple but beautiful Feed the birds. It has such finely balanced musicality as a song and tugs the heart strings with its gentle lilting narrative of the unassuming bird lady on the steps of St. Paul's Cathedral.This arrangement tries to capture the magic of the original song, using some occasional harmonic ideas from the stage musical version as well. Instrumentation:2 FlutesOboeCor Anglais2 Clarinets2 Bassoons4 Horns2 PercussionHarpKeyboard Strings Optional SATB chorusCheck out other arrangements and orchestrations by John Langley and Paul Campbell at https://www.studio-orchestrations.com/buy-hire-music
$120.00
109.27 €
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Orchestre
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Richard M
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Feed The Birds
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www.studio-orchestrations.com
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SheetMusicPlus
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