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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Let's Get On It
Non classifié
192
Piano & claviers
Piano seul
96
Piano Facile
68
Piano, Voix et Guitare
36
Piano, Voix
21
Orgue
11
Instruments en Do
10
2 Pianos, 4 mains
2
Piano Trio: piano, violon, violoncelle
2
Piano grosses notes
2
1 Piano, 4 mains
2
Accordéon
1
Piano Quatuor: piano, violon, alto, violoncelle
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Accompagnement Piano
1
+ 9 instrumentations
Retracter
Guitares
Guitare
32
Basse electrique
12
Guitare notes et tablatures
11
Ligne De Mélodie, (Paroles) et Accords
7
Ukulele
4
2 Guitares (duo)
1
Dulcimer
1
Mandoline
1
Guitare, Violon, Violoncelle (trio)
1
+ 4 instrumentations
Retracter
Voix
Chorale SATB
29
Chorale 3 parties
9
Chorale 2 parties
4
Chorale TTBB
4
Voix Soprano, Piano
3
Chorale Unison
2
Chorale SSAA
1
Voix seule
1
Voix Tenor, Piano
1
+ 4 instrumentations
Retracter
Vents
Quintette de Saxophone: 5 saxophones
20
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
15
2 Saxophones (duo)
13
Quatuor de Saxophones: 4 saxophones
13
Saxophone (partie séparée)
11
Flûte, Hautbois, Clarinette, Basson
11
Saxophone Alto
11
Flûte traversière et Piano
10
Clarinette et Piano
9
Flûte traversière
9
Clarinette
9
Saxophone Alto et Piano
7
Hautbois (partie séparée)
6
Saxophone Baryton, Piano
5
Saxophone Tenor
5
Saxophone Tenor et Piano
5
Hautbois, Piano (duo)
5
3 Saxophones (trio)
4
Quatuor de Flûtes : 4 flûtes
4
2 Flûtes traversières (duo)
4
Flute (partie séparée)
3
Hautbois
3
2 Hautbois (duo)
3
2 Clarinettes (duo)
3
Quintette de Clarinettes: 5 clarinettes
3
Saxophone Soprano et Piano
3
Ensemble de Flûtes
3
Saxophone, Clarinette (duo)
2
Quintette de Flûte : 5 flûtes
2
Clarinette, Violon (duo)
2
Clarinette, Trompette (duo)
2
Flûte, Hautbois, Clarinette (trio)
2
Clarinette, Basson (duo)
2
Clarinette Basse, Piano
2
Cor anglais, Piano
2
Quatuor de Clarinettes: 4 clarinettes
2
3 Clarinettes (trio)
2
Clarinette, Violoncelle (duo)
2
Trio de Flûtes: 3 flûtes
2
Flûte, Saxophone (duo)
1
Hautbois, Flûte
1
Piccolo, Piano
1
Hautbois, Basson (duo)
1
Flûte, Violoncelle
1
Harmonica
1
Ensemble de Clarinettes
1
Cor Anglais
1
Flûte, Alto (duo)
1
Hautbois, Clarinette (duo)
1
Clarinette, Guitare (duo)
1
Flûte à bec Soprano
1
Quatuor de Flûtes à bec
1
Flûte, Hautbois, Basson
1
Flûte, Violon
1
Flûte, Trompette (duo)
1
Flûte, Clarinette (duo)
1
Ensemble de Hautbois
1
Piccolo
1
Hautbois, Violoncelle
1
Flûte et Guitare
1
Flûte, Clarinette et Basson
1
+ 56 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
23
Cor
11
Trompette
11
Trombone
8
Tuba
7
Quatuor de Cuivres : 2 trompettes, trombone, tuba
7
Trombone et Piano
6
Cor et Piano
5
Quatuor de Cuivres: 2 trompettes, Cor, trombone
5
Trompette (partie séparée)
5
Euphonium, Piano (duo)
3
Trombone (partie séparée)
3
2 Trompettes (duo)
3
Trompette, Piano
3
Trompette, Basson (duo)
3
Quatuor de Cuivres
2
Cor anglais, Piano
2
Tuba et Piano
2
Trompette, Saxophone (duo)
2
2 Trombones (duo)
2
Ensemble de Trombones
1
Trompette, Violoncelle (duo)
1
Trompette, Trombone (duo)
1
2 Tubas (duo)
1
2 Euphoniums et 2 Tubas
1
Euphonium
1
Cor Anglais
1
Ensemble de Trompettes
1
Bass Clef Instruments
1
+ 24 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
36
Violon
13
Violon et Piano
11
Alto, Piano
8
Violoncelle, Piano
8
Harpe
8
Quintette à cordes: 2 violons, alto, violoncelle, basse
7
Violoncelle
6
Alto seul
6
Violon, Violoncelle (duo)
5
Alto (partie séparée)
4
Trio à Cordes: violon, alto, violoncelle
3
Trio à Cordes: 2 violons, violoncelle
3
Trio à Cordes: 2 violons, alto
2
2 Violons (duo)
2
Quintette à cordes : 2 violons, alto et 2 violoncelles
2
Violon, Alto (duo)
2
Harpe, Voix
2
Contre Basse
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
2 Altos (duo)
1
Contrebasse (partie séparée)
1
Ensemble d'Altos
1
2 Violoncelles (duo)
1
Ensemble de Violons
1
+ 20 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
35
Orchestre
28
Orchestre à Cordes
12
Ensemble Jazz
11
Cloches
9
Batterie
9
Orchestre de chambre
7
Fanfare
5
Ensemble de cuivres
5
Ensemble d'École
3
Ensemble de Percussions
3
Batterie (partie séparée)
2
Jazz combo
1
Vibraphone et Marimba
1
Orchestre, Violon
1
Piano et Orchestre
1
Percussion (partie séparée)
1
+ 12 instrumentations
Retracter
Autres
Instruments
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CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
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VIOLON
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XYLOPHONE
style (tous)
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CELTIQUE - IRISH - S…
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MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
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POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
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RAGTIME
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Vous avez sélectionné:
Let's Get On It
Orchestre
Partitions à imprimer
28 partitions trouvées
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1
26
From the Hillside, Aria for Tenor with Orchestral Accompaniment from On the Wings of the Scarlet Mes
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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James Nathaniel Holland
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From the Hillside, Aria for Te
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James Nathaniel Holland
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.730401 Composed by James Nathaniel Holland. Contemporary,Musical/Show,Opera. Score and parts. 37 pages. James Nathani...
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Full Orchestra - Level 4 - SKU: A0.730401 Composed by James Nathaniel Holland. Contemporary,Musical/Show,Opera. Score and parts. 37 pages. James Nathaniel Holland #3142471. Published by James Nathaniel Holland (A0.730401). Tenor Aria From the Hillside from the 21st Century Opera ON THE WINGS OF THE SCARLET MESSENGER (Based on the Henry James novel, On the Wings of a Dove) here with full orchestral accompaniment. (Full score in concert pitch, voice, and individual parts included) This accompaniment can also be used with the solo and male ensemble that is contained in the full vocal score.Instrumentation: pic, fl12,ob12,eh,cl12,bcl,tenor sax, bsn12,hrn1234, trpt 12, trmb, btrm, timp, hand cym/egg shaker, hrp, voice, stringsDuration: 4:00 minutes (Sample here begins with extra measure) Video presentation at: https://www.youtube.com/watch?v=u47yb4kiE0Y Curious? Listen to the complete opera playlist en demo at: http://www.youtube.com/watch?v=Rr5x_aXnUMM&list=PLEcbVsA36MCvHG_MTBdv7x2UNjwG27sMa Adaptation, Libretto, and Music by James Nathaniel Holland Performance: James Nathaniel Holland, Tenor Orchestra: CH Symphony Group (Complete Duration: 2 hours) BRIEF SYNOPSIS: In the urban capital of Soon Rafa, lovers Mariana (Soprano) and Kai (Bass) cannot be together because of Mariana's disapproving wealthy Aunt (Mezzo-Soprano). Torn between love and financial security, an unlikely opportunity arises when a dying rich Occidental, Justin (Tenor) reveals his romantic interest in Kai. The couple plot a pretense to inherit Justin's money and be free to marry and live together. This aria occurs in Act I, Scene 2. Justin (tenor) has just hired a group of porters, including Kai (bass), to guide him through the jungles of the island to photograph the mythical bird, the Scarlet Messenger. Although the men insist it is a legend, Justin inspires them to persevere with him. Aria Libretto, Justin (tenor singing): From the hillside, something breaks free. Is it real? Or just illusion? Oh how I have to see you, feel that beauty. Upon your wings our souls must one day fly to heaven. Never doubt that you can find him, hiding among your dreams. For when you feel all hope is gone, that's when you spot his red wings, fiery bright. (to the group of porters) So come with me, all's not in vain. It is real, just not illusion. The day is fading fast, oh, so quickly. We'll be the first to see that blazing path of fire. The Scarlet Messenger! Oh how that would be the greatest gift of my life. Composer website: http://lacoronadelossantos.net/jamesnathanielholland.html Music, Lyrics, Performance Copyright 2017 James Nathaniel Holland.
$15.95
The Satyricon, A Balletic Roman Sex Comedy in 3 Acts, Individual Parts 1 (Woodwinds and Brass)
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Orchestre
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AVANCÉ
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James Nathaniel Holland
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The Satyricon, A Balletic Roma
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James Nathaniel Holland
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.730492 Composed by James Nathaniel Holland. Contemporary,Musical/Show. Score and parts. 484 pages. James Nathaniel Ho...
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Full Orchestra - Level 5 - SKU: A0.730492 Composed by James Nathaniel Holland. Contemporary,Musical/Show. Score and parts. 484 pages. James Nathaniel Holland #4800547. Published by James Nathaniel Holland (A0.730492). Advisory: Ballet story contains adult situation and themes. Not suitable for audiences or performers under the age of 18. INDIVIDUAL INSTRUMENT PARTS 1 (Woodwinds and Brass). Piano Score, Full Orchestral Score, Individual Parts (Part 2) Sold Separately. American composer, James Nathaniel Holland, brings a ballet adapted from the first century Roman novel by Gaius Petronius (cir. 50 A.D.) to the stage. An entertaining ballet for adults (not suitable for general audiences under the age of 18), celebrating the male ballet dancer's physique and a laugh at our own human sexuality. The comedy is a romp of three gay protagonists and their adventures and misadventure in ancient Rome and their characters; an ex-gladiator, Enclopius, his young lover, Giton, and an upper class snob, Ascyltos. It should also be said that this ballet is not pure gratuitous vulgarity, there is a interweaving story containing a deeper message of real human relationships, the satire of ancient Roman archetypes, and a humorous glimpse into ancient Roman life that still rings true even 2,000 plus years later. Regardless of the subject matter, Holland's original music is fantastic tapestry of counterpoint, set in a sort of atonal-ism and heavy percussion, evoking a period of history no longer available to us. Although not all cues and counterpoint is contained here, this piano score is extremely useful for either a performance with 2 pianos and percussion and a dance company, a director's/choreographer's score, or a concise conductor's score, or rehearsal score. Measure numbers line up with the full score. An orchestral, performance CD is available for those company's on a budget.
$70.25
The Satyricon, A Balletic Roman Sex Comedy in 3 Acts, Full Orchestral Score
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Orchestre
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AVANCÉ
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James Nathaniel Holland
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The Satyricon, A Balletic Roma
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James Nathaniel Holland
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.730493 Composed by James Nathaniel Holland. Contemporary,Musical/Show. Score and parts. 370 pages. James Nathaniel Ho...
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Full Orchestra - Level 5 - SKU: A0.730493 Composed by James Nathaniel Holland. Contemporary,Musical/Show. Score and parts. 370 pages. James Nathaniel Holland #4800668. Published by James Nathaniel Holland (A0.730493). Advisory: Ballet story contains adult situation and themes. Not suitable for audiences or performers under the age of 18. FULL ORCHESTRAL SCORE (with stage directions). Piano Score, Individual Parts (Parts 1 and 2) Sold Separately. American composer, James Nathaniel Holland, brings a ballet adapted from the first century Roman novel by Gaius Petronius (cir. 50 A.D.) to the stage. An entertaining ballet for adults (not suitable for general audiences under the age of 18), celebrating the male ballet dancer's physique and a laugh at our own human sexuality. The comedy is a romp of three gay protagonists and their adventures and misadventure in ancient Rome and their characters; an ex-gladiator, Enclopius, his young lover, Giton, and an upper class snob, Ascyltos. It should also be said that this ballet is not pure gratuitous vulgarity, there is a interweaving story containing a deeper message of real human relationships, the satire of ancient Roman archetypes, and a humorous glimpse into ancient Roman life that still rings true even 2,000 plus years later. Regardless of the subject matter, Holland's original music is fantastic tapestry of counterpoint, set in a sort of atonal-ism and heavy percussion, evoking a period of history no longer available to us. Although not all cues and counterpoint is contained here, this piano score is extremely useful for either a performance with 2 pianos and percussion and a dance company, a director's/choreographer's score, or a concise conductor's score, or rehearsal score. Measure numbers line up with the full score. An orchestral, performance CD is available for those company's on a budget.
$32.50
Kommos (Lamentation) / "When the World Moved On" - Conductor's Score
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1018940 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 13 pages. Benjamin Sajo #6078661...
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Full Orchestra - Level 4 - SKU: A0.1018940 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 13 pages. Benjamin Sajo #6078661. Published by Benjamin Sajo (A0.1018940). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles. The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners. Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$20.00
Kommos (Lamentation) / "When the World Moved On" - Extracted Parts
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1018959 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 34 pages. Benjamin Sajo #6078723...
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Full Orchestra - Level 4 - SKU: A0.1018959 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 34 pages. Benjamin Sajo #6078723. Published by Benjamin Sajo (A0.1018959). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles.  The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners.  Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer:  Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$31.50
Easy On Me
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Orchestre
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FACILE
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Adele
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Paul Lorenz
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Easy On Me
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Paul Lorenz
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SheetMusicPlus
Full Orchestra - Level 2 - SKU: A0.1494427 By Adele. By Adele Adkins and Greg Kurstin. Arranged by Paul Lorenz. Broadway,Classical,Musical/Show,Pop,Rock...
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Full Orchestra - Level 2 - SKU: A0.1494427 By Adele. By Adele Adkins and Greg Kurstin. Arranged by Paul Lorenz. Broadway,Classical,Musical/Show,Pop,Rock,Soul. 39 pages. Paul Lorenz #1071020. Published by Paul Lorenz (A0.1494427). Adele Easy On Me Orchestral Version by Paul Lorenz – Sheet Music for a Breathtaking Crossover Masterpiece Discover the extraordinary orchestral arrangement of Adele’s iconic hit Easy On Me by the renowned composer and arranger Paul Lorenz. This exclusive sheet music offers musicians and ensembles the chance to perform a piece that blends the emotional depth of Adele’s original song with the grandeur and sophistication of a full orchestra. Whether you are a professional musician or part of an ensemble, this sheet music is designed to elevate your performance and captivate your audience. A Unique Orchestral Experience Paul Lorenz, known for his collaborations with the London Symphony Orchestra, has created a version of Easy On Me that is both powerful and moving. The arrangement captures the soul of Adele’s lyrics and melodies while introducing rich, orchestral textures that add a new dimension to the song. This sheet music allows you to bring that same majestic sound to your own performances, whether in a concert hall, studio, or classroom setting. What You’ll Find in This Sheet Music Complete Orchestral Score: The sheet music includes a full score, meticulously arranged to ensure that every instrument shines. Each part is crafted with precision, allowing musicians to deliver a flawless performance.Individual Parts for All Instruments: From strings to woodwinds, brass, and percussion, every section of the orchestra is represented. The individual parts are easy to follow, making it simple for musicians of all levels to perform together.Detailed Performance Notes: Paul Lorenz has included insights and tips on how to best bring out the emotion and dynamics of the piece. These notes are invaluable for conductors and musicians looking to deliver a performance that resonates with their audience. Why Choose Paul Lorenz’s Orchestral Arrangement? This sheet music is more than just notes on a page; it’s a gateway to an unforgettable musical experience. Paul Lorenz’s arrangement of Easy On Me has been praised for its innovative approach to orchestral music, combining classical techniques with contemporary elements. By choosing this sheet music, you’re not only adding a stunning piece to your repertoire but also embracing a composition that bridges the gap between pop and classical music. Perfect for Concerts, Recitals, and Special Performances This orchestral version of Easy On Me is ideal for a wide range of performances. Whether you’re planning a concert, a recital, or a special event, this piece will leave a lasting impression on your audience. Its universal appeal makes it suitable for diverse audiences, ensuring that everyone in attendance will be moved by the performance. Get Your Copy Today Don’t miss out on the opportunity to perform this beautiful and powerful orchestral arrangement of Easy On Me. Purchase your copy of Paul Lorenz’s sheet music today and take the first step towards an unforgettable performance. Available in digital and print formats, this sheet music is ready to be part of your next musical journey.
$149.90
Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Conductor's Score
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Orchestre
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AVANCÉ
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Benjamin Harry Sajo
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Icarus Also Flew: A Pairing wi
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Benjamin Sajo
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1018872 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 38 pages. Benjamin Sajo #6056047...
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Full Orchestra - Level 5 - SKU: A0.1018872 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 38 pages. Benjamin Sajo #6056047. Published by Benjamin Sajo (A0.1018872). Programme Notes: Icarus Also Flew takes its title from the first line of the poem Failing and Flying by Jack Gilbert. He is referring to the classical myth of Daedalus and Icarus, an inventive father and son who bravely escape from their imprisonment in a tower by collecting the disposed feathers of seabirds, then fashion wings out of them and fly away. While the story is often treated as a morality tale--listen to your elders, don’t get cocky like the young man, Icarus, who, in such an understandable state of elation, ascended too close to the sun thus causing the wings to melt and his tumbling to his Mediterranean death--what Jack Gilbert reminds us is how regardless of one’s failure, the sheer transcendental experience of mortal flight remains glorious and unforgettable. Icarus’s fall was not into a legacy of disdain and oblivion, but in truth, he had come to the end of his triumph.  This piece was the first of a series I composed during the Covid-19 quarantine conditions of 2020, to serve as potential contemporary preludes for each of Ludwig van Beethoven’s nine symphonies--his two hundred and fiftieth anniversary was this year!--though they can all stand on their own on any program. The connection, in this case, is with his celebrated fifth symphony in C minor--the Fate symphony, as it is commonly known. I’ll let the listener find their own connections.About the Composer:Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$20.00
Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Extracted Parts
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Orchestre
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AVANCÉ
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Contemporain
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Benjamin Harry Sajo
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Icarus Also Flew: A Pairing wi
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Benjamin Sajo
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1018900 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 79 pages. Benjamin Sajo #6056141...
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Full Orchestra - Level 5 - SKU: A0.1018900 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 79 pages. Benjamin Sajo #6056141. Published by Benjamin Sajo (A0.1018900). Programme Notes: Icarus Also Flew takes its title from the first line of the poem Failing and Flying by Jack Gilbert. He is referring to the classical myth of Daedalus and Icarus, an inventive father and son who bravely escape from their imprisonment in a tower by collecting the disposed feathers of seabirds, then fashion wings out of them and fly away. While the story is often treated as a morality tale--listen to your elders, don’t get cocky like the young man, Icarus, who, in such an understandable state of elation, ascended too close to the sun thus causing the wings to melt and his tumbling to his Mediterranean death--what Jack Gilbert reminds us is how regardless of one’s failure, the sheer transcendental experience of mortal flight remains glorious and unforgettable. Icarus’s fall was not into a legacy of disdain and oblivion, but in truth, he had come to the end of his triumph. This piece was the first of a series I composed during the Covid-19 quarantine conditions of 2020, to serve as potential contemporary preludes for each of Ludwig van Beethoven’s nine symphonies--his two hundred and fiftieth anniversary was this year!--though they can all stand on their own on any program. The connection, in this case, is with his celebrated fifth symphony in C minor--the Fate symphony, as it is commonly known. I’ll let the listener find their own connections.About the Composer:Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$50.00
That's The Way (i Like It)
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Orchestre
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INTERMÉDIAIRE
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K
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Kevin Riley
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That's The Way
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Kevin Riley
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.546779 By K.C. And The Sunshine Band. By Harry Wayne Casey and Richard Finch. Arranged by Kevin Riley. 20th Century,P...
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Full Orchestra - Level 3 - SKU: A0.546779 By K.C. And The Sunshine Band. By Harry Wayne Casey and Richard Finch. Arranged by Kevin Riley. 20th Century,Pop. Score and parts. 35 pages. Kevin Riley #156712. Published by Kevin Riley (A0.546779). That's the Way (I Like It) is a song by the American group KC and the Sunshine Band from their self-titled second studio album. The single became the band's second No. 1 hit in the Billboard Hot 100, and it is one of the few chart-toppers in history to hit No. 1 on more than one occasion during a one-month period, as it did between November and December 1975. It topped the American pop chart for one week, and then was replaced by another disco song, Fly, Robin, Fly by Silver Convention. That's the Way (I Like It) returned to No. 1 for one more week after Fly, Robin, Fly completed three weeks at the top. That's the Way (I Like It) also spent one week at No. 1 in the soul singles chart. The song is in natural minor. The song was also an international chart hit, reaching No. 1 in Canada[4] and the Netherlands and charting in Australia (No. 5), Belgium (No. 2), Germany (No. 20), Ireland (No. 17), New Zealand (No. 12), Norway (No. 5) and the United Kingdom (No. 4). For release as a single and radio airplay, the song was toned down from the original recording, which would have jeopardized it receiving getting radio airplay at the time. However the sexual overtones may have improved the record's reception at discos, increasing its overall popularity in the charts.
$50.00
The Chicken Dance: Mallets
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Orchestre
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Methodes
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Bob Cerulli
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The Chicken Dance: Mallets
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Full Orchestra - SKU: AX.00-PC-0016620_M1 Mallets. Arranged by Bob Cerulli. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-...
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Full Orchestra - SKU: AX.00-PC-0016620_M1 Mallets. Arranged by Bob Cerulli. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0016620_M1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016620_M1). UPC: 029156913088.Hold on to your hats for this one! You'll play only a few notes before everyone (and we mean everyone) in your audience gets the message. The grins will go from ear to ear, and chances are there will be more than a few who will be doing a bit of moving. It's all good fun and one heck of a way to bond your musicians with their audiences. With this wonderful Bob Cerulli arrangement, you'll hit solid home runs . . . never 'fowl' balls!
$3.00
Cyclone Galveston (orchestra)
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Orchestre
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INTERMÉDIAIRE
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Wesley Besancon
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Wesley Besancon
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Cyclone Galveston
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Wesley Besancon
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1147112 By Wesley Besancon. By Wesley Besancon. Arranged by Wesley Besancon. Contest,Festival,New Age. Score and part...
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Full Orchestra - Level 3 - SKU: A0.1147112 By Wesley Besancon. By Wesley Besancon. Arranged by Wesley Besancon. Contest,Festival,New Age. Score and parts. 104 pages. Wesley Besancon #747317. Published by Wesley Besancon (A0.1147112). Let’s get one thing straight, Cyclone Galveston was not actually a cyclone. The hurricane, however, did form near Africa which makes me consider it to be a cyclone. On August 27, 1900, Galveston, Texas would feel a punch that would knock down every single building. This piece represents that with swirling woodwinds, tornadic brass, and frightening percussion. In the center of the piece, there is a calm chorale to represent the eye of the storm. After that, it goes back to the evil cyclone themes.
$59.99
Cyclone Galveston (orchestra) - Score Only
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Orchestre
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INTERMÉDIAIRE
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Wesley Besancon
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Wesley Besancon
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Cyclone Galveston
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Wesley Besancon
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1150350 By Wesley Besancon. By Wesley Besancon. Arranged by Wesley Besancon. Contest,Festival,New Age. Score and part...
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Full Orchestra - Level 3 - SKU: A0.1150350 By Wesley Besancon. By Wesley Besancon. Arranged by Wesley Besancon. Contest,Festival,New Age. Score and parts. 12 pages. Wesley Besancon #750529. Published by Wesley Besancon (A0.1150350). Let’s get one thing straight, Cyclone Galveston was not actually a cyclone. The hurricane, however, did form near Africa which makes me consider it to be a cyclone. On August 27, 1900, Galveston, Texas would feel a punch that would knock down every single building. This piece represents that with swirling woodwinds, tornadic brass, and frightening percussion. In the center of the piece, there is a calm chorale to represent the eye of the storm. After that, it goes back to the evil cyclone themes.
$24.99
Contagion (Full Album Score)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Film/TV
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Franco Esteve
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Franco Esteve
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Contagion
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Franco Esteve
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1121448 By Franco Esteve. By Franco Esteve. Arranged by Franco Esteve. Classical,Contemporary,Film/TV. Score and part...
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Full Orchestra - Level 4 - SKU: A0.1121448 By Franco Esteve. By Franco Esteve. Arranged by Franco Esteve. Classical,Contemporary,Film/TV. Score and parts. 68 pages. Franco Esteve #722619. Published by Franco Esteve (A0.1121448). About Contagion, the music From quarantine life, something painful this way comes, a new, pandemic inspired, life soundtrack… Contagion is a moment, an interruption, signifying an expression of feelings and music that the Covid-19 coronavirus pandemic and quarantine brought to light. It’s a contemporary classical life-track, serving as a soundtrack to the contagion, to its spread, to its mystery, its attack on the body, to our losses during the Covid-19 pandemic and to our future beyond them. As the virus flooded every news outlet, Contagion became an interruption, a mysterious invader, taking over everything, needing to be expressed. It’s a “lifetrack†or “life soundtrack†with its contemporary classical orchestral sounds expressing the feelings and experiences of those first few months of dread and quarantine, through which many of us felt the fear of it all and the actual loss of loved ones. Original Album Release date: May 14th, 2020 Genre: Contemporary Classical / Life Soundtrack • The album length is 9 minutes and 33 seconds About the Score This version of the score includes ALL 5 songs in the album and the instrument selection varies in accordance with the specific composition of each of the songs. The instruments used are: Horn Section, Soprano Trumpet, Bass Drum, Piano, Harp, Tuba, Wine Glasses, Cabasa, Triangle, Violins I, Violins II, Horn, Trumpet, Trombone, Timpani, Crash Cymbals, Cello Section, Trumpet Section, Gong, Cello Solo. I can imagine the songs can work adapted in a number of ways by different groups or a very advanced group of students. It'll be fun to hear how others interpret them. Music included In the package, I've included the full album's music score with each of the individual songs and their instrument parts and the original published songs as a single HQ MP3 (320 kbps), so players can get a feel for my intentions when composing each one. (You can listen to them free at https://francoesteve.com or on your favorite streaming service - links on my website’s album page linked below). The MP3 also includes a cello solo version of Death Is Not the End. Track list 1. Contagion (2:15) 2. The Spread (2:24) 3. Patient Zero (1:26) 4. Infected (1:26) 5. Death Is Not the End (2:02) Composer: Franco Esteve Genres: Contemporary Classical, Modern Classical, 21st Century Level: Advanced The Package includes 1. PDF with the Score The full score for each of the 5 songs in the album. All the individual parts for each song as written. 2. All 5 songs in a single MP3 HQ (320 kbps) format file including the Bonus Cello Only Version of Death is Not the End. Find out more about this album on Contagion's page on the Franco Esteve website here: https://www.francoesteve.com/music/contagion-music-album/ Thank you for your interest in my music. I hope y’all enjoy playing it as much as I did composing it. Don’t forget to keep up to date with everything Franco Esteve: Website: http://www.francoesteve.com/ Patreon: https://patreon.com/FrancoEsteve Facebook: https://www.facebook.com/seefrancoesteve Twitter: https://www.twitter.com/FrancoEsteve Instagram: https://www.instagram.com/seefrancoesteve My music is also available on all major, online music stores and streaming services. I'm a BMI affiliated artist and you can contact me using the contact form at: http://www.francoesteve.com or through Facebook and Twitter. Thank you again and enjoy! :).
$25.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484977...
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Full Orchestra - SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #488544...
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Full Orchestra - SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
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Orchestre
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Classique
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #484976...
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Full Orchestra - SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00
Festival
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Mike Lyons
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Festival
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Lyons Music Services
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1119919 By Mike Lyons. By Mike Lyons. Classical,Contemporary. Score and parts. 111 pages. Lyons Music Services #72126...
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Full Orchestra - Level 4 - SKU: A0.1119919 By Mike Lyons. By Mike Lyons. Classical,Contemporary. Score and parts. 111 pages. Lyons Music Services #721269. Published by Lyons Music Services (A0.1119919). Festival:(Time 7:05) This is an original, previously unpublished piece, composed specifically for the ICF festival 2022. It is a programmatic piece in 3 sections, with each section being a description of some aspect of the word Festival. I have taken the broadest definition of the word festival to give as much scope for variety as possible. The first section opens with ‘sunrise’ on the day of the festival, shown by long-held open fourth chords, with the snapping of the violin pizzicatos (perhaps) being the rattle of tent lines/guys. The bass clarinet solo then shows people waking up and stretching, yawning and just before Letter A, the descending figures throughout the ensemble bring us all together to start the festival. From Letter A, one sets off at a marching pace through the crowds. We hear a mish-mash of vendors’ calls overlaying each other, repeating variations of the same motif and this little tune develops as it moves around the festival site, sometimes loud and sometimes faint. At some point, of course, arguments break out (e.g. Letter B between the strings and brass), but generally, the mood is business-like. At Letter C, there comes a parade of minstrels through the field which eventually fades off into the distance. At Letter D, we look at a different kind of festival. Not necessarily religious, but certainly spiritual. The harp and bell sounds evoke far-eastern temples while the string harmonics evoke an eerie stillness which is broken only by the melodic fragments (based on the 4ths of the first section) which pass around the orchestra. The theme is first heard on the Cor Anglais (echoed by the harp) which gives it a warmer, less piercing, sound than the oboe. The quartal chords at b.149 denote the vast mysteries of the cosmos. As our gaze widens, we are suddenly brought back to Earth with a rush as yet another kind of festival is evoked. This time we are looking briefly at the Indian subcontinent. Where fakirs charm snakes and young boys climb ropes only to disappear. The third and final section returns us to the British Isles, where the Celts are making merry in a festival. There is dancing, singing, feasting and drinking a-plenty. And, just when you think it’s all over, there’s a final push to get another dance going. The final chords are a reminder of the opening as we finish our revels as the sun descends below the horizon in a beautiful sunset.
$55.00
Carson Cooman: Pittsburgh Concerto (2005) for orchestra, study score
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Orchestre
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AVANCÉ
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Contemporain
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Carson Cooman
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Carson Cooman: Pittsburgh Conc
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.533667 Composed by Carson Cooman. Contemporary. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037087. Pu...
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Full Orchestra - Level 5 - SKU: A0.533667 Composed by Carson Cooman. Contemporary. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037087. Published by Musik Fabrik Music Publishing (A0.533667). Pittsburgh Concerto (2005) was written for the Carnegie Mellon Philharmonic and isdedicated to Amy Stabenow, concert manager at Carnegie Mellon’s School of Music. Thepiece was conceived as a tribute to the city of Pittsburgh, Pennsylvania, USA.The work contains only two specific “programmatically inspired†images related toPittsburgh. They form the outer two sections of the work. The inner four sections areinspired more abstractly by various aspects of the city, its landscapes, and its people; theyfeature a series of solos and duets for many members of the orchestra – in the manner of a“concerto for orchestra.â€The opening of the work is inspired by Pittsburgh’s history as America’s steel capital.Colors and sounds of the clangorous industrial age of America’s past are evoked. The basicmusical material (a six-note cell) for the entire work is presented in this aggressiveintroduction. Throughout the rest of the work, this basic material is developed in ways thatrange from lushly romantic to aggressively athletic.The following section is marked “slow, lush†and features a duet first between trumpet andtuba, over warm harmonies in the orchestra. A brief duet for vibraphone and marimba leadsto an extended viola solo.The next section is fast and energetic. It begins with an athletic duet for English horn andbass trombone, followed by a ringing duet of tubular bells and crotales. The final solo is forviolin, as the orchestral texture disintegrates around it.The next section, marked “slow, mysticalâ€, begins with a duet between piano and bassclarinet. A passionate horn duo follows before a passage for solo bass leads directly into thenext section.This section is fragmentary and halting. An unpitched duo of bass drum and flexatonebegins, leading to an aggressive and abortive duet between solo flute and bassoon. Finally,an extended cello solo closes the section.The final part of the work is inspired by my first visit to Pittsburgh. When driving in fromPittsburgh airport (which is far outside the city), the city itself is “hidden†from the road byhills. Upon reaching the hills, one enters the Fort Pitt tunnel and, after a few moments,emerges from it on a suspension bridge over the Monongahela River. Late at night, this wasa truly breathtaking moment as the city and its rivers emerged suddenly in a mass of glitteringlights. The ecstatic rush of the lighted city at night is portrayed in this section – amidstfragments from the opening, recalling the industrial past, now transformed into somethingnew.Instrumentation3 Flutes (3rd dbl. Picc.)2 OboesEnglish Horn3 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F/Bb3 Trumpets in Bb2 TrombonesBass TromboneTubaTimpaniPercussion (3 players)I: tubular bells, bass drumII: vibraphone (motor off)III: crotales, marimba, flexatone(Percussion II needs two rosined bows.Percussion III needs one rosined bow.)PianoViolin IViolin IIViolaCelloContrabass(principal/solo contrabass must have machine extension to low Db)This is the score only. The parts are available on rental from the publisher
$25.95
Olga-Polka, Op. 196 (arr. for string orchestra): Full Score
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Strauss Jr
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Aaron Meier
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Olga-Polka, Op. 196
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Aaron Meier
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.922635 Composed by Johann Strauss Jr. Arranged by Aaron Meier. Romantic Period,World. Score and parts. 7 pages. Aa...
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Chamber Orchestra - Level 4 - SKU: A0.922635 Composed by Johann Strauss Jr. Arranged by Aaron Meier. Romantic Period,World. Score and parts. 7 pages. Aaron Meier #5792353. Published by Aaron Meier (A0.922635). Original by Johann Strauss II Reduction to String Orchestra by Aaron Meier Part: Full Score ONLY True to the original work by Strauss, this reduction for string orchestra features the ornaments and mystical writing that defines Strauss' polkas. There are optional percussion parts to be added at the discretion of the ensemble, however even without percussion the ensemble will sound full (the percussion acts as an ornament). Difficulty: Intermediate-advanced - advanced (best-suited for advanced student ensembles) ---Performance Notes: • Approximate length: 3:30 minutes • 1st Violins: In m. 1, trill a half step from a D♠to a D♮ • 2nd Violins:  - At m. 42, divide players by 3, with 2 players playing line A and the remaining player playing line B  - At m. 72-75, emphasize the E♠in the div. • Snare Drum: The buzz roll needs to be quieter than how it is played in the midi recording (*see YouTube link ↓) History: The Olga-Polka itself owed its creation to a Russian royal wedding which took place in St. Petersburg on 28 August 1857. On that day, amid accompanying splendour, the music-loving Grand Duke Michail Nikolaievich (1832-1909), youngest brother of Tsar Alexander II, married Princess Caecilie of Baden (1839-91), daughter of Archduke Leopold of Baden. Johann Strauss, who at that time was giving a summer season of concerts in nearby Pavlovsk, used the opportunity occasioned by the event to enhance his already enviable popularity with the Russian royal family and composed the Caecilien-Polka in honour of the lovely young bride. Indeed, it is clear from a letter which Johann wrote in late July 1857 to Carl Haslinger, his publisher in Vienna, that the new polka had been prepared well in advance of the wedding (the fair copy of the full orchestral score made for the publisher's engraver is dated 9 August) and was enjoying success even before the royal couple's official engagement on 16August 1857. Sometime after performing the Caecilien-Polka in Pavlovsk, Johann despatched the work to the Austrian capital where his brother Josef conducted its Viennese première, together with that of Johann's waltz Telegraphische Depeschen (op. 195, Volume 28), at his own benefit concert in the Volksgartenon Sunday 18 October 1857. The Wiener Allgemeine Theaterzeitung (16.10.1857) remarked that both works have caused a sensation in St. Petersburg and are truly genial Viennese sounds full of verve and melody. Since tradition demanded that the German Princess Caecilie adopt a Russian name - Olga Feodorovna - before her marriage, so Johann's Caecilien-Polka also underwent a change of identity. On 8 December 1857 Carl Haslinger announced the publication of Strauss's Olga-Polka, on the title page of which is the inscription: Dedicated to her Imperial Highness Grand Duchess Olga, née Princess of Baden. It was under this title, too, that Johann himself first conducted the work in Vienna at a concert in the Volksgarten on 1 November 1857, shortly after his return from Russia. Reporting on this event, the Wiener Allgemeine Theaterzeitung (3.11.1857) observed: The 'Olga-Polka' is a most delightful, fragrant musical bouquet, full of fine, gracious rhythms. [excerpted from NAXOS Records] Kemp, Peter. Program Notes - About this Recording. NAXOS, 1993, www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.223232&catNum=223232&filetype=About%20.......... Accessed 5 June 2020. Resources: • Visit sites.google.com/view/aaronmeier for more information regarding this arrangement and other works. • Find a full midi recording of this arrangement on YouTub.
$10.99
Be Thou My Vision - Orchestra
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Orchestre
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INTERMÉDIAIRE
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Musique Sacrée
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Traditional Irish Melody: Slan
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Brendan Elliget MAGA 537
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Be Thou My Vision - Orchestra
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BJE Music
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.750756 Composed by Traditional Irish Melody: Slane. Arranged by Brendan Elliget MAGA 537. Christian,Praise & Worship,...
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Full Orchestra - Level 3 - SKU: A0.750756 Composed by Traditional Irish Melody: Slane. Arranged by Brendan Elliget MAGA 537. Christian,Praise & Worship,Sacred. Score and parts. 35 pages. BJE Music #3543435. Published by BJE Music (A0.750756). Be Thou my Vision, O Lord of my heart; Naught be all else to me, save that Thou art. Thou my best Thought, by day or by night, Waking or sleeping, Thy presence my lightBe Thou My Vision is a traditional Christian hymn, which can be traced to Ireland but is now sung in English-speaking churches around the world and is often sung around St. Patrick’s Day.​The music is the Irish folk song, Slane referring to Slane Hill. Slane Hill is about ten miles from Tara in County Meath. It was on Slane Hill around 433 AD that St. Patrick defied a royal edict by lighting candles on Easter Eve. High King Logaire of Tara had decreed that no one could light a fire before Logaire began the pagan spring festival by lighting a fire on Tara Hill. Logaire was so impressed by Patrick’s devotion that, despite his defiance (or perhaps because of it), he let him continue his missionary work. The rest is history.​This arrangement is for full orchestra with two changes of key. Also available for Concert Band as well.The MP3 was recorded with NotePerformerGrade = 3 Duration = 2:22 mins.
$20.00
Legacy
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Sy Brandon
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Legacy
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Sy Brandon
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.755203 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 253 pages. Sy Brandon #3415579. Published ...
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Full Orchestra - Level 4 - SKU: A0.755203 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 253 pages. Sy Brandon #3415579. Published by Sy Brandon (A0.755203). Legacy is a three movement composition for chamber orchestra that makes social commentary on the issue of global warming. It was commission and premiered by the Washington Sinfonietta, Rufus Jones, conductor. I. Conflicts - This movement begins with a cry from native cultures admonishing our neglect of the environment. The cry is interspersed with debate regarding the seriousness of global warming (woodwinds). The debate grows stronger as the cries grow weaker. The debate is quieted by a measure of repeated chords that could be the words, stop it! stop it now!. A weak cry in the English Horn brings the introduction to a close. An Allegro section follows with a rhythmic and primitive sounding section representing the underdeveloped nations that are destroying the rain forests for economic gain. This material evolves into a more harmonic and contrapuntal section representing industrialized nations reluctant to change, also for economic reasons. Things quiet down as the music takes the listener to another part of the globe, East Asia. Conflict is again present in this section. The music returns to a varied restatement of the industrialized nations music before traveling to India for a section influenced by Raga. This section builds in dissonance until we hear the repeated stop it now chords from the introduction. A brief reprise of the cries bring the movement to a close. II. Consequences - This movement evokes a somber mood that is reflective of living in a climate of extremes. The movement is in arch form as it begins and ends with open harmony reflective of barren lands that once were fertile. The middle section serves as a climax expressive the harshness of the climate. Colleen McCollough’s book, A Creed for the Third Millennium was a source of inspiration for this movement. III. Sacrifice and Compromise - The movement begins with a strong section that suggests progress. It is followed by a quieter and intense section that alternates lyrical lines over a staccato ostinato that creates a sense of urgency. The opening section returns and is followed by a development of the ostinato section. This section is symbolic of how ideas need to be adapted in order for progress to be made. The opening section returns once more before leading into the concluding section where there is coming together of the instruments on a long lyrical line representing more and more people working together for change. The movement ends with a sense of triumph over adversity.The score prints on legal size paper and the parts on letter.
$49.95
You Raise Me Up
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Orchestre
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FACILE
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Musique Sacrée
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Josh Groban
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Paul Lorenz
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You Raise Me Up
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Paul Lorenz
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SheetMusicPlus
Full Orchestra - Level 2 - SKU: A0.1413785 By Josh Groban. By Brendan Graham and Rolf Lovland. Arranged by Paul Lorenz. Broadway,Celtic,Christian,Irish,...
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Full Orchestra - Level 2 - SKU: A0.1413785 By Josh Groban. By Brendan Graham and Rolf Lovland. Arranged by Paul Lorenz. Broadway,Celtic,Christian,Irish,Musical/Show,Pop,Praise & Worship. 35 pages. Paul Lorenz #995571. Published by Paul Lorenz (A0.1413785). Elevate Your Performance with Josh Groban You Raise Me Up Sheet Music Discover the Ultimate Musical Experience At Paul Lorenz Music, we understand the power of a single piece to transform your musical journey. That's why we are thrilled to present the Josh Groban You Raise Me Up Sheet Music, a testament to our commitment to quality, innovation, and connection. This piece, a beacon of inspiration and emotion, is designed to meet the diverse needs of musicians, ensembles, orchestras, choirs, and creatives seeking to elevate their performances and resonate with audiences worldwide. Masterful Arrangements for Every Performer Our Josh Groban You Raise Me Up Sheet Music collection spans various arrangements, ensuring that every musician finds their perfect match. Whether you're searching for the piano sheet You Raise Me Up, longing for the stirring You Raise Me Up music score, or in need of the You Raise Me Up sheet music PDF, we've meticulously crafted each piece to cater to your artistic demands.For soloists and educators, the You Raise Me Up lead sheet PDF and You Raise Me Up easy piano sheet music provide accessible yet rich renditions. Meanwhile, ensembles and larger groups will find the You Raise Me Up choir sheet music arrangement, You Raise Me Up orchestra sheet music, and You Raise Me Up SATB to offer a comprehensive and immersive musical experience. Immerse Yourself in the Music Each note of the Josh Groban You Raise Me Up Sheet Music invites you into a world where melodies soar and emotions run deep. From the PDF You Raise Me Up to the finely detailed You Raise Me Up notes, every element of our sheet music is produced with the highest quality, echoing our collaboration with renowned musicians and world-class studios like Abbey Road in London. Transform Your Musical Expression Paul Lorenz Music stands at the intersection of tradition and innovation, bringing together top-trained talent and strong industry connections to offer the best quality worldwide. Our Josh Groban You Raise Me Up Sheet Music is not just notes on a page; it's an opportunity to connect with your audience on a profound level, appealing to both classical aficionados and the modern listener.Elevate your performance with Paul Lorenz Music. Experience the unparalleled beauty of Josh Groban You Raise Me Up Sheet Music and let it lift you and your audience to new heights of musical expression.
$149.99
Silver Threads Among The Gold
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Amelita Galli-Curci, Billy Vau
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Javier Soria Laso
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Silver Threads Among The Gold
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Javier Soria Laso
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1336407 By Amelita Galli-Curci, Billy Vaughn, Bing Crosby, Chris Walden, Dick Curless, Janey Kirk, Jerry Lee Lewis, J...
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Full Orchestra - Level 4 - SKU: A0.1336407 By Amelita Galli-Curci, Billy Vaughn, Bing Crosby, Chris Walden, Dick Curless, Janey Kirk, Jerry Lee Lewis, Jo Stafford, John McCormack, Maud Powell, Papa Bue's Viking Jazz Band, Red Nichols, Richard Jose, Sammy Rimington, Sidney Bechet, Slim Whitman, and etc. By Eben Eugene Rexford and Hart Pease Danks. Arranged by Javier Soria Laso. 19th Century,Classical,Standards. 18 pages. Javier Soria Laso #922205. Published by Javier Soria Laso (A0.1336407). The well-known 19th Century ballad written by Hank Pease Danks & Eben Eugene Rexford is still popular among the public, and as a testament of its popularity, it gets a majestic yet peaceful orchestral arrangement in this occasion even with a modern harmonization that yet still supports the tune. This arrangement features nice spots for flute, bassoon, English horn & clarinet as well as the French horn & string sections. The bass clarinet is also included in a duet with the bassoon [although in the original recording one of the French horns was in place of the bass clarinet]. This arrangement can be useful for opening or closing your concert as well as an interlude in a pacific way! About ss are downloadable sheet music files that can be viewed directly on your computer, tablet or mobile device. Once you download your digital sheet music, you can view and print it at home, school, or anywhere you want to make music, and you dont have to be connected to the internet. Just purchase, download and play!PLEASE NOTE: Your will have a watermark at the bottom of each page that will include your name, purchase date and number of copies purchased. You are only authorized to print the number of copies that you have purchased. You may not digitally distribute or print more copies than purchased for use (i.e., you may not print or digitally distribute individual copies to friends or students).
$5.99
Gettysburg Portrait
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Orchestre
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INTERMÉDIAIRE
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Contemporain
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Sy Brandon
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Gettysburg Portrait
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Sy Brandon
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.755125 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 93 pages. Sy Brandon #3396749. Published b...
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Full Orchestra - Level 3 - SKU: A0.755125 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 93 pages. Sy Brandon #3396749. Published by Sy Brandon (A0.755125). This two movement work contains a jaunty first movement depicting a nearby settlement around Getty’s Tavern. It is modal and primarily homophonic. The second movement is called Battlefield Memorial and contains a rhythmic battle scene followed by a poignant prayer for peace. The score prints on legal size paper and the parts on letter.
$39.99
Arizona Centennial Overture - Orchestra Version
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Sy Brandon
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Arizona Centennial Overture -
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Sy Brandon
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.755101 Composed by Sy Brandon. 20th Century,Concert,Contemporary,Folk. Score and parts. 124 pages. Sy Brandon #338457...
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Full Orchestra - Level 4 - SKU: A0.755101 Composed by Sy Brandon. 20th Century,Concert,Contemporary,Folk. Score and parts. 124 pages. Sy Brandon #3384577. Published by Sy Brandon (A0.755101). Arizona Centennial Overture was commissioned by the Arizona Commission on the Arts as part of the Centennial Legacy Project to help celebrate Arizona’s centennial. There are three versions of the compositions, chamber orchestra, full orchestra, and band. The overture pays tribute to the unique blend of the various cultures that had a part in shaping Arizona into what it is today. This six and a half minute composition is divided into three main sections. The first section begins with fanfares that announce the celebration. After thirty seconds, the introduction fades into music that pays tribute to the pioneers that migrated to Arizona. The music has a rustic quality reflecting the pioneering spirit of the ranchers, farmers, miners, and merchants who came to Arizona seeking a better way of life. This section is intended to be inclusive as it is impossible to represent each culture individually in a short musical composition. The second section pays tribute to the various Native American cultures that are a large part of Arizona’s history and its present way of life. Flutes and percussion instruments are used in the beginning of this section to represent the Native American respect for nature. This quiet section evolves into a ceremonial dance that increases in intensity. Towards the end of this section one hears fragments of the pioneer melody as these culture come together. The third section is influenced by Mariachi music to recognize the Hispanic influence in Arizona. The first part uses an original rollicking tune with four beats to the measure over syncopation. The second part contains a lyrical melody with three beats to the measure accompanied by instruments playing accents that create the Hispanic sounding grouping of six notes into three groups of two alternating with two groups of three. A brief ending using the fanfares of celebration interspersed with figures from the Native American and pioneer sections brings the work to a rousing close.The score prints on legal size paper and the parts on letter.
$39.99
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