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ACCORDEON
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AUTRES INST…
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BUGLE
CHANT - CHO…
CHARANGO
CITHARE
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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
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
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
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Non classifié
384
PIANO & CLAVIERS
Piano seul
74
Piano, Voix et Guitare
38
Piano Facile
11
Instruments en Do
10
Piano, Voix
9
Orgue
6
Piano Quatuor: piano, violon, alto, violoncelle
3
Piano Trio: piano, violon, violoncelle
2
Piano (partie séparée)
2
Accompagnement Piano
1
1 Piano, 4 mains
1
Instrumentations suivantes
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GUITARES
Guitare
10
Guitare notes et tablatures
8
Ligne De Mélodie, (Paroles) et Accords
6
Guitare (partie séparée)
5
Ukulele
4
Paroles et Accords
3
Basse electrique
1
Mandoline
1
2 Guitares (duo)
1
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VOIX
Chorale SATB
19
Chorale TTBB
11
Chorale 3 parties
6
Chorale 2 parties
2
Voix haute
2
Voix Soprano, Piano
2
Chorale SSAA
2
Chorale Unison
1
Chorale SSATTB
1
Voix duo, Piano
1
Voix Alto, Piano
1
Chorale
1
Instrumentations suivantes
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VENTS
Saxophone (partie séparée)
18
Flûte, Hautbois, Clarinette, Basson
16
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
15
2 Saxophones (duo)
14
Saxophone, Clarinette (duo)
9
Clarinette, Violon (duo)
9
Quatuor de Clarinettes: 4 clarinettes
8
2 Clarinettes (duo)
7
Clarinette et Piano
7
3 Clarinettes (trio)
7
2 Flûtes traversières (duo)
6
Quatuor de Saxophones: 4 saxophones
5
Flûte, Violon
5
Flûte traversière et Piano
5
2 Hautbois (duo)
4
Clarinette, Trompette (duo)
4
Flûte, Trompette (duo)
3
Quatuor de Flûtes : 4 flûtes
3
Hautbois, Basson (duo)
3
Flûte, Clarinette (duo)
3
Trio de Flûtes: 3 flûtes
3
Clarinette et Alto
3
Hautbois, Flûte
3
Clarinette
3
Hautbois, Piano (duo)
3
Flûte, Alto (duo)
3
Saxophone Alto et Piano
3
Ensemble de Clarinettes
2
Flûte, Clarinette et Basson
2
Saxophone Soprano et Piano
2
Flûte, Violon et Violoncelle
2
Flûte, Saxophone (duo)
2
Quintette de Saxophone: 5 saxophones
2
Saxophone Alto
2
Hautbois, Clarinette (duo)
2
Saxophone Baryton, Piano
2
3 Saxophones (trio)
2
Flûte, Violon, Piano
1
Clarinette (partie séparée)
1
Flûte, Violoncelle, Piano (trio)
1
Hautbois (partie séparée)
1
Saxophone Tenor
1
Harmonica
1
Flûte à bec Alto
1
Flûte et Guitare
1
Flûte traversière
1
3 Flûtes à bec (trio)
1
Saxophone Tenor et Piano
1
Quintette de Clarinettes: 5 clarinettes
1
Flûte, Hautbois, Clarinette (trio)
1
Clarinette, Basson (duo)
1
2 Clarinettes, Basson
1
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CUIVRES
Trompette (partie séparée)
11
Trombone (partie séparée)
10
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
10
Trompette, Saxophone (duo)
6
Quatuor de Cuivres : 2 trompettes, trombone, tuba
6
Trombone
4
Trombone et Piano
4
2 Trombones (duo)
3
Trompette, Piano
3
2 Trompettes (duo)
2
Tuba et Piano
2
Trompette, Trombone (duo)
2
Cor et Piano
2
Quatuor de Cuivres
2
Tuba
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
Ensemble de Trombones
1
Quatuor de cuivres: 4 trombones
1
Trompette
1
Tuba (partie séparée)
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
19
Violon, Alto (duo)
13
2 Violons (duo)
13
Violon et Piano
12
Violon, Violoncelle (duo)
11
Trio à Cordes: violon, alto, violoncelle
10
Harpe
8
Violon
7
Contrebasse (partie séparée)
6
Violoncelle, Piano
5
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
Alto, Piano
4
Trio à cordes: 3 violins
3
Violoncelle (partie séparée)
3
2 Altos (duo)
3
2 Violoncelles (duo)
3
Trio à Cordes: 2 violons, violoncelle
2
Contre Basse
2
Violoncelle
2
4 Contrebasses
1
Alto seul
1
Violon, Guitare (duo)
1
Harpe et Piano
1
Contrebasse, Piano (duo)
1
Violon (partie séparée)
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
83
Orchestre à Cordes
25
Orchestre de chambre
21
Orchestre
20
Batterie (partie séparée)
5
Ensemble de cuivres
5
Ensemble Jazz
4
Percussion (partie séparée)
4
Batterie
2
Cloches
2
Ensemble de Percussions
2
Instrumentations suivantes
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AUTRES
Vous avez sélectionné:
Last Dance
SheetMusicPlus
Partitions à imprimer
20 partitions trouvées
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1
Last Dance
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1160181 By Donna Summer. By Pau…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1160181 By Donna Summer. By Paul Jabara. Arranged by Matt Smith. Disco,Pop. Score and parts. 46 pages. Matt Smith #760467. Published by Matt Smith (A0.1160181). Last Dance by Donna Summer, for Orchestra
$79.99
73.95 €
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Orchestre
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Donna Summer
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Matt Smith
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Last Dance
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Matt Smith
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SheetMusicPlus
Dance of the Sugar Plum Fairy - Orchestral Version (Full Score and Parts)
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.1179925 Composed by Peter Ilyic…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1179925 Composed by Peter Ilyich Tchaikovsky. Arranged by César Madeira. Children,Christmas,Film/TV,Opera,Romantic Period. Score and Parts. 33 pages. Sheet Music To Play Editions #779872. Published by Sheet Music To Play Editions (A0.1179925). Dance of the Sugar Plum Fairy from The Nutcracker Suite Op.71a. The Orchestral Version. With Full Score and Individual Parts. Enjoy it!Pyotr Ilyich Tchaikovsky (1840 1893) was a Russian composer of the Romantic period. He was the first Russian composer whose music would make a lasting impression internationally.For Tutorials, Play Alongs or request New Arrangements, visit my YouTube Channel: Sheet Music To Play
$19.99
18.48 €
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Orchestre
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Peter Ilyich Tchaikovsky
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César Madeira
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Dance of the Sugar Plum Fairy - Orchestral Version
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Sheet Music To Play Editions
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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
23.07 €
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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
Goblins
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.885234 Composed by Kathryn Elli…
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Full Orchestra - Level 3 - Digital Download SKU: A0.885234 Composed by Kathryn Ellis. Contemporary,Halloween. Score and parts. 37 pages. Ellis #6400803. Published by Ellis (A0.885234). Goblins for orchestra is a whimsical piece about an unusual event, a Goblin Ball. A four measure motif opens Mvt I depicting the invitation to the Ball being passed along. The invitation gains momentum as it is passed along and excitement grows. Mvt II is the Goblin Waltz, which incorporates an orchestra hit to signify an accidental crash on the dance floor, and ends with the dancers all sliding to the floor with the last note being struck by a triangle. Mvt III, Finale - is The party's Over piece, with a mix and mingling of all the motifs, as the party goers return home to their caves, happy and exhausted. .
$29.99
27.72 €
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Orchestre
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Kathryn Ellis
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Goblins
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Ellis
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SheetMusicPlus
Symphony No. 5 ... Utopia Parkway (2003) full score
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.869677 Composed by Thomas Oboe …
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Full Orchestra - Level 4 - Digital Download SKU: A0.869677 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Romantic Period. Score and parts. 147 pages. Thomas Oboe Lee #5968133. Published by Thomas Oboe Lee (A0.869677). Conceptually it all began a year ago when I came upon a book edited by Jonathan Safran Foer, A Convergence of Birds: Original Fiction and Poetry Inspired by the Work of Joseph Cornell. It is a beautiful book for the mind and the eyes: imaginative short stories and poetry alongside magnificently rendered color-plate reproductions of several Joseph Cornell box constructions. The book led me to a biography by Deborah Solomon, Utopia Parkway, and the germ of a symphonic work for Joseph Cornell was born.Symphony No. 5 ... Utopia Parkway is in five movements.I. Allegro marcato 3708 Utopia Parkway, Flushing, NYII. Lento The Enchanted Wanderer ... for Hedy LaMarr, 1941III. Avian scherzo Habitat Group for a Shooting Gallery, 1943IV. Allegro ... à la Can-can A Pantry Ballet ... for Jacques Offenbach, 1942 V. Moderato Apotheosis: Mary Baker Eddy, Christian ScientistJoseph Cornell lived most of his life with his mother and brother Robert at 3807 Utopia Parkway, Flushing, NY. The first movement, Allegro marcato, is a musical rendition of Joseph’s daily commute into Manhattan where he frequently visited dime stores, junk shops, used book stores, the New City Public Library, art galleries, movie houses and restaurants like Bickford’s and Schraft’s.The Enchanted Wanderer is a collage work on paper by Joseph Cornell – a tribute to Hedy Lamarr. Hollywood fascinated Cornell. He made several box constructions as tributes to movie stars like Lauren Bacall, Jennifer Jones, Greta Garbo, Audrey Hepburn, etc.Avian scherzo. Many of Cornell’s boxes featured cutout pictures of parakeets, parrots and cockatoos. Habitat Group for a Shooting Gallery is an especially evocative box of his aviary series. There are four birds in it, amidst other odds and ends. A number is attached to each one. There is a crack in the glass encasement – as if hit by a bullet. Blood splatters from the head of one of the birds. . In between the shooting gallery music, there is a Trio: a requiem for the dead cockatoo.Allegro ... à la Can-can. Cornell attended the ballet fervently. He made many box constructions inspired by ballet dancers: Fanny Cerrito, Marie Taglioni, Tamara Toumanova, Zizi Jeanmaire, Allegra Kent, etc. A Pantry Ballet for Jacques Offenbach is a very funny box with five red plastic lobsters in tutus. I provided a polka as background music. This movement is dedicated to Allegra Kent – a friend and confidante of Cornell.Joseph Cornell was an active member of the Christian Science Church for all of his adult life. He attended services regularly, and taught Sunday-school classes. For a while he even worked as an attendant in a Christian Science Reading Room in Great Neck, NY. In the Christian Science Hymnal I found several hymns written by the founder, Mary Baker Eddy, set to music by a number of different composers. I wrote a new tune to her hymn, Shepherd, show me how to go. The last movement, Apotheosis, is a theme and variations on this tune. It begins like a singing congregation, and it ends with the opening of Heaven’s doors – for Joseph, of course.Audio link: https://thomasoboelee.bandcamp.com/album/symphony-no-5-utopia-parkway-2003
$9.99
9.24 €
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Orchestre
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Thomas Oboe Lee
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Symphony No. 5 ... Utopia Parkway
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Thomas Oboe Lee
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SheetMusicPlus
Symphony No. 2, In Praise to Haitian Gods, Full Orchestral Score Only
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.730486 Composed by James Nathan…
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Full Orchestra - Level 5 - Digital Download SKU: A0.730486 Composed by James Nathaniel Holland. African,Contemporary,World. Score and parts. 128 pages. James Nathaniel Holland #4357263. Published by James Nathaniel Holland (A0.730486). FULL SCORE only, Individual instrument parts sold separately. Haitian voodoo rhythms, and gods Damballa Wedo, Papa Legba, Ezulie, Baron Zamdi the Gede are brought to the orchestral concert stage in this second symphony of American composer James Nathaniel Holland, who served for a while in Haiti in the US Peace Corps in the 1990s. The symphony for large orchestra is divided into three movements. It begins with a rousing invocation which melts into a sensitive section, sympathetic of the human condition and of the Republic of the Caribbean island of Haiti. The second movement, actually three sections, is very a very African sounding fugue that changes into a contraposition of the quiet, mysterious Minwet and the European French Minuet, and ends with an almost church joyous, dance of complex percussion, call and response. The last movement incorporates multimedia of the beauty of spoken Kreyol language: stating that we, ourselves, are the gods expressed in the Haitian folk dances. And ends with an energetic Haitian carnival section. Great, varied and different, showpiece for any symphony orchestral concert with overtones of jazz and Afro Carib music. Instrumentation: picc/fl 1.2., fl/altofl. 3.4., ob 1.2., pic cl./clBb 1, clBb 2.3.4., bcl., ssax, asax, tsax, bsax, bsn 1.2., cbsn, hrns 1.2.3.4., tpt 1.2.3., trom. 1.2., btrm, tba, timp, perc (bdrm, slapstick (or whip), maracas, metal guiro, agogo bells, calabasa, crash cyms, tri., bongos, congos, celeste., marimba) harp, strings.YouTube Presentation: https://youtu.be/ON24g0ZJFQwComposer website: https://www.facebook.com/jamesnathanielholland/
$18.95
17.52 €
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Orchestre
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James Nathaniel Holland
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Symphony No. 2, In Praise to Haitian Gods, Full Orchestral Score Only
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James Nathaniel Holland
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SheetMusicPlus
Symphony No. 2, In Praise to Haitian Gods, Individual Instrument Parts
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.730488 Composed by James Nathan…
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Full Orchestra - Level 5 - Digital Download SKU: A0.730488 Composed by James Nathaniel Holland. Contemporary,Folk,World. Score and parts. 315 pages. James Nathaniel Holland #4359113. Published by James Nathaniel Holland (A0.730488). INDIVIDUAL INSTRUMENT PARTS only, Full score sold separately. Haitian voodoo rhythms, and gods Damballa Wedo, Papa Legba, Ezulie, Baron Zamdi the Gede are brought to the orchestral concert stage in this second symphony of American composer James Nathaniel Holland, who served for a while in Haiti in the US Peace Corps in the 1990s. The symphony for large orchestra is divided into three movements. It begins with a rousing invocation which melts into a sensitive section, sympathetic of the human condition and of the Republic of the Caribbean island of Haiti. The second movement, actually three sections, is very a very African sounding fugue that changes into a contraposition of the quiet, mysterious Minwet and the European French Minuet, and ends with an almost church joyous, dance of complex percussion, call and response. The last movement incorporates multimedia of the beauty of spoken Kreyol language: stating that we, ourselves, are the gods expressed in the Haitian folk dances. And ends with an energetic Haitian carnival section. Great, varied and different, showpiece for any symphony orchestral concert with overtones of jazz and Afro Carib music. Instrumentation: picc/fl 1.2., fl/altofl. 3.4., ob 1.2., pic cl./clBb 1, clBb 2.3.4., bcl., ssax, asax, tsax, bsax, bsn 1.2., cbsn, hrns 1.2.3.4., tpt 1.2.3., trom. 1.2., btrm, tba, timp, perc (bdrm, slapstick (or whip) maracas, metal guiro, agogo bells, calabasa, crash cyms, tri., bongos, congos, celeste., marimba) harp, strings.YouTube Presentation: https://youtu.be/ON24g0ZJFQwComposer website: https://www.facebook.com/jamesnathanielholland/
$42.95
39.71 €
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Orchestre
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James Nathaniel Holland
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Symphony No. 2, In Praise to Haitian Gods, Individual Instrument Parts
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James Nathaniel Holland
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SheetMusicPlus
Mozartina
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1302257 Composed by Otoniel Roj…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1302257 Composed by Otoniel Rojas. 20th Century,Classical,Historic,Latin,Traditional. Score and Parts. 119 pages. Otoniel Rojas #891863. Published by Otoniel Rojas (A0.1302257). Based on a traditional Merengue tune from Dominican Republic in a Rondó style a'la Mozart, combining Mozart's Jupiter symphony 35th 4-note theme.Originally commissioned by the 'Fundación Filarmónica del Cibao' in  1997. Mozartina is an effervescent overture that paints us a contemporary Mozart, exposed to the melodic and rhythmic resources of the Caribbean identity, fusing the style and spirit of the famous Austrian with a mixed of the rhythmic and harmonic developments of the last 200 years of musical development. The work is structured as Rondo ,taking as its theme the traditional merengue (a traditional Dominican dance) El jarro 'ta pichao using it as melodic material that integrates into many styles and orchestral techniques. The topic is presented in juxtaposition with the monumental melodic motif of the last movement of the symphony ' Jupiter ' . Sometimes we appreciate it as it is , sometimes in inverted or hidden among contrapuntistic passages in striped and woven into different instrumental colors and harmonic richness coated within countless melodic modulations or put into small pieces. The climax part suddenly surrounds us with the classic merengue, where the 'tambora' (traditional dominican percussion instrument) makes appearance and gives it its soul. Meanwhile, in the background we still can hear the theme of 'Jupiter'. There briefly we can discover a 'perico ripiao' (another traditional Dominican dance)with its typical melisma embodied by the horn, we finally get to a climax that concludes with a short cadenza of 'tambora' and the reitaration of the main merengue theme in unison. The work was commissioned in 1997 for the opening concert of the Philharmonic of Cibao and this time receives his first audition by the National Symphony Orchestra.
$9.99
9.24 €
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Orchestre
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Otoniel Rojas
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Mozartina
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Otoniel Rojas
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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
9.24 €
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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
So This Is Love
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.1474066 By James Ingram. By Al …
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Full Orchestra - Level 3 - Digital Download SKU: A0.1474066 By James Ingram. By Al Hoffman, Jerry Livingston, and Mack David. Arranged by Ken Litton. Broadway,Film/TV,Instructional,Musical/Show,Standards,Traditional. 65 pages. Artist of Note, Inc. #1051695. Published by Artist of Note, Inc. (A0.1474066). So This Is Love(The Cinderella Waltz)from Walt Disney’s CINDERELLABy Jerry Livingston, Mack David, Al HoffmanFULL ORCHESTRA© 1948 Walt Disney Music Company Copyright Renewed. All Rights Reserved. Used by Permission.East of the Altar/Artist of Note, Inc.How about a blast from the past in the form of a highly playable dance for your student (high school/college), community, professional or even church orchestra?The romantic ballad from Disney's classic animated film Cinderella (1950) originally ”sung” by Cinderella and Prince Charming as they finally dance together at the ball.The accelerating introduction leads to the elegant melody with light accompaniment. Then, material from the intro brings an easily playable lift into a new key and the melody up an octave, leading to a dramatic chord resolution at the words “dreaming of.” Add a choice of effective endings and, well…it’s love at first play!All this from the places you go for the best in downloadable resources:Sheet Music Directhttps://www.sheetmusicdirect.com/en-US/se/ID_No/1574510/Product.aspxSheet Music Plushttps://www.sheetmusicplus.com/en/product/so-this-is-love-22801217.htmlAs well as via Hal Leonard InStore™ retailers.Also…be sure to check out other titles from East of the Altar/Artist of Note, Inc. including an INTERMEDIATE PIANO arrangement taken directly from this score.Thanks, as always to the good folks at ArrangeMe.com, a division of Hal Leonard.
$49.99
46.21 €
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Orchestre
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James Ingram
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Ken Litton
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So This Is Love
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Artist of Note, Inc.
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SheetMusicPlus
N. Medtner - Two Pieces, Op. 58, Orchestrated by A. Leytush - Score Only
Orchestre
Full Orchestra - Digital Download SKU: A0.1368041 Composed by N. Medtner. Arranged …
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Full Orchestra - Digital Download SKU: A0.1368041 Composed by N. Medtner. Arranged by A. Leytush. 20th Century. 153 pages. Arkady Leytush #952396. Published by Arkady Leytush (A0.1368041). Nikolai Medtner - Two Pieces, Op. 58, 1. Russian Round Dance 2. Knight Errant, Orchestrated by Arkady LeytushMedtner, one of the last romantic composers, remained in the history of music as the author of a number of piano compositions, three piano concertos, as well as vocal and chamber compositions. In addition to piano concertos, he unfortunately did not write a single work for a symphony orchestra. This can only be understood considering that he himself was a brilliant pianist and has been focused on this instrument throughout his creative life. Meanwhile, analyzing his piano compositions reveals not only mastery, a variety of development techniques, polyphony and multi-layered presentation, but also a symphonic scope and an assumed variety of timbres. In particular, his opus 58 Two Pisces for 2 pianos fully corresponds to what is written above. These circumstances prompted me to orchestrate this work for a large symphony orchestra and thereby try to expand its creativity and popularity.
$50.00
46.22 €
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Orchestre
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N
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A
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N. Medtner - Two Pieces, Op. 58, Orchestrated by A. Leytush - Score Only
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Arkady Leytush
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SheetMusicPlus
PULVER Lev: Two Scenes from "Prince Reubeni" for Symphony Orchestra (score and parts)
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.868922 Composed by Lev PULVER (…
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Full Orchestra - Level 4 - Digital Download SKU: A0.868922 Composed by Lev PULVER (1883 – 1970). Arranged by Sergei PICHUGIN. 20th Century,Musical/Show,World. Score and parts. 72 pages. Really Good Music, LLC. #4837469. Published by Really Good Music, LLC. (A0.868922). The last project of Solomon Mikhoels in the Moscow State Yiddish Theater (GOSET) was David Bergelson’s play Prince Reubeni (1947). Lev PULVER (1883 – 1970) composed music for the production, and it can be said that its quality perfectly corresponded to the grandeur of the performance as envisioned by Mikhoels. Since the work on the project has been stopped by the death of Mikhoels, the music for Prince Reubeni was preserved only as piano scores. Sergei PICHUGIN includes into this publication his own orchestral versions of two musical episodes of the play: Storm on the Sea and Dance of Dina.
$90.00
83.2 €
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Orchestre
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Lev PULVER
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Sergei PICHUGIN
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PULVER Lev: Two Scenes from "Prince Reubeni" for Symphony Orchestra
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Really Good Music, LLC.
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SheetMusicPlus
PULVER Lev: Two Scenes from "Prince Reubeni" for Symphony Orchestra (score)
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.868920 Composed by Lev PULVER (…
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Full Orchestra - Level 4 - Digital Download SKU: A0.868920 Composed by Lev PULVER (1883 – 1970). Arranged by Sergei PICHUGIN. 20th Century,Musical/Show,World. Score and parts. 36 pages. Really Good Music, LLC. #4837467. Published by Really Good Music, LLC. (A0.868920). The last project of Solomon Mikhoels in the Moscow State Yiddish Theater (GOSET) was David Bergelson’s play Prince Reubeni (1947). Lev PULVER (1883 – 1970) composed music for the production, and it can be said that its quality perfectly corresponded to the grandeur of the performance as envisioned by Mikhoels. Since the work on the project has been stopped by the death of Mikhoels, the music for Prince Reubeni was preserved only as piano scores. Sergei PICHUGIN includes into this publication his own orchestral versions of two musical episodes of the play: Storm on the Sea and Dance of Dina.
$50.00
46.22 €
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Orchestre
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Lev PULVER
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Sergei PICHUGIN
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PULVER Lev: Two Scenes from "Prince Reubeni" for Symphony Orchestra
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Really Good Music, LLC.
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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
23.11 €
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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
23.11 €
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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
23.11 €
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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
Symphony No. 1 ... Fallen Angels (1993, rev. 1995)
Orchestre
Full Orchestra - Digital Download SKU: A0.869366 Composed by Thomas Oboe Lee. 20th …
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Full Orchestra - Digital Download SKU: A0.869366 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 89 pages. Thomas Oboe Lee #33639. Published by Thomas Oboe Lee (A0.869366). Instrumentation: 2222-2211-timp-perc-hp-pf-strings. Program note. SYMPHONY No.1, subtitled Fallen Angels and commissioned by Bruce Hangen and the Omaha Symphony Orchestra, is in three movements - I. Prince of Darkness II. Waltz!!!III. Lilith's Lament. The first movement begins in a dark, underground world, the world of the Prince of Darkness. Melodies emerge, growing, evolving gradually ... transforming ... finally, explosively ... into a syncopated danse macabre. The movement ends, agitatedly, in a quasi-scherzo fashion, scurrying from the lower depths of the orchestra to a heavenly cadence in C major. The second movement is a dance for the Prince and Lilith. [In talmudic lore, Lilith was regarded as a devilish being, and as Adam's first wife.] Each segment of this movement begins at first cautiously, and then very quickly reaches an ecstatic outburst of shouts and exclamations. A middle trio section offers a contrast of lyric introspection and contemplation. The third and last movement is rather sad and melancholy. Ironically, it is again in C major. The solo flute coupled with two bassoons is the main feature, with a Gil Evans-like wind choir floating in and out ... The work is dedicated to Miles, the original Prince of Darkness.Audio link: https://thomasoboelee.bandcamp.com/album/symphony-no-1-fallen-angels-1993-rev-1995
$9.99
9.24 €
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Orchestre
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Thomas Oboe Lee
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Symphony No. 1 ... Fallen Angels
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Thomas Oboe Lee
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SheetMusicPlus
Would You Be So Kind
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1301798 By Dodie. By Dorothy Cl…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1301798 By Dodie. By Dorothy Clark and Joseph Wander. Arranged by Scores by Ken. Broadway,Musical/Show,Pop. Score and Parts. 142 pages. Scores by Ken #891390. Published by Scores by Ken (A0.1301798). Would You Be So Kind | Dodie About the PieceWould You Be So Kind is the last track on Dodie's EP, You. About the Composer From the breathtaking landscapes of New Zealand, Ken weaves melodies and harmonies that captivate and transport listeners to another realm. Specialising in screen composition, and versatile jazz renditions, each piece is a unique auditory experience, meticulously crafted to resonate with the soul. Whether you're seeking a composition that tells a profound story or a vibrant jazz chart that dances with energy, Scores by Ken promises unparalleled originality and precision in every note.
$49.99
46.21 €
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Orchestre
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Dodie
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Scores by Ken
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Would You Be So Kind
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Scores by Ken
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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
20.8 €
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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.
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