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Spanish National Anthem for Symphony Orchestra (Kt Olympic Anthem Series)
Orchestre
Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de lo…
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Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de los Monteros (1730-1810). Arranged by Keith Terrett. Classical Period, European, Patriotic. 30 pages. Published by Music for all Occasions
The Spanish National Anthem arranged for full Symphony Orchestra, there is a short version in my store in case you need it! Just need a sporting event now such as an Olympics!<br> <br> The Marcha Real (Spanish pronunciation: [ˈmartʃa reˈal], "Royal March") is the national anthem of Spain. It is one of only three national anthems (along with that of Bosnia and Herzegovina and the Republic of Kosovo) in the world to have no official lyrics.<br> <br> One of the oldest in the world, the anthem was first printed in a document dated 1761 and entitled Libro de la Ordenanza de los Toques de Pífanos y Tambores que se tocan nuevamente en la Ynfant° Española (Book of the Ordenance of Newly Played Military Drum and Fife Calls by The Spanish Infantry ), by Manuel de Espinosa. Here it is entitled La Marcha Granadera ("March of the Grenadiers"). There is written its score on this book. According to this document, Manuel de Espinosa de los Monteros is the composer.<br> <br> There is a false belief that Marcha Real’s author was Frederick II of Prussia, a great lover of music. This belief started in 1861 when it appears for the first time publied in La España militar (The Militar Spain). In 1864, the colonel Antonio Vallecillo publishes the history in the diary El Espíritu Público (The Public Spirit), making the supposed Prussian origin of Marcha Real popular. According to Vallecillo, the anthem was a gift from Frederick II to the soldier Juan Martín Álvarez de Sotomayor, who was serving in the Prussian Court to learn the military tactics developed by Frederick II’s army, under orders of King Charles III. In 1868 the history is published in Los Sucesos, changing the destinatary of the gift with Pedro Pablo Abarca de Bolea, Count of Aranda. The myth was picked up like this in different publications of 1884 and 1903, until being included in 1908 in the Enciclopedia Espasa.<br> <br> According to the tradition in 1770, Charles III declared the Marcha de Granaderos as the official Honor March, and with that formalized the habit of playing it in public and solemn acts. It became the official anthem during Isabel II’s reign.<br> <br> After the 1868 Revolution, General Prim convoked a national contest to create an official anthem, but it was declared deserted, advising the jury that Marcha de Granaderos was considered as such. By Alfonso XIII’s time, it was established by a Royal Circular Order (27 August 1908) that interpreted the harmonization of the march done by Bartolomé Pérez Casas, Major Music of the Royal Corps of Halberdier Guards. During the Second Republic, Himno de Riego was adopted as official anthem, although after the Spanish Civil War, Marcha Real returned to be used as anthem, sometimes sung with the verses written by the poet José María Pemán in 1928.<br> <br> The actual symphonic version of the Marcha Real that replaces the Pérez Casas one, belongs to maestro Francisco Grau and is the official one after the Royal Decree of 10 October 1997, when the Kingdom of Spain bought the author rights of the Marcha Real, then belonging to Pérez Casas’ Heirs. According to the Royal Decree 1560/1997, the anthem should have a tone of B major and a tempo of 76 bpm (♩=76), with a form of AABB and a duration of 52 seconds.<br> <br> Under the Trienio Liberal (1820-1823), the First Spanish Republic (1873–74) (when it enjoyed of a co-officiality) and the Second Spanish Republic (1931–1939), El Himno de Riego replaced La Marcha Real as the national anthem of Spain. At the conclusion of the Civil War, however, Francisco Franco restored La Marcha Real as the country’s national anthem, under its old title of La Marcha Granadera.<br> <br> Interpretation and etiquette:<br> <br> Military bands of the Spanish Armed Forces and the National Police Corps of Spain and civilian Marching bands and Concert bands play the B flat-major version of the anthem adapted for wind bands (as arranged by Francisco Grau), and playing the A Major version is optional.<br> <br> The bugle call "To the Colors" in Spain is the version played by Bugle bands in Spanish churches in religious occasions and processions organized by civil groups and the parishes. Various versions adapted for the drum and the bugle are used, even though brass instruments play the anthem as well. But in some bugle bands, the A flat version of the anthem (the old official one, adapted for the bugle) is played. Only a bugle call is sounded when the B flat version is played.<br> <br> Being the National Anthem, and in honor of the King and Queen of Spain, it’s a common practice for all to stand once it is played. Even though it is also played in church events, respect for the King and Queen (and the Royal Family as well) is required by everyone in attendance. As it happens civilians stand at attention while those in uniform salute when not in formation.<br> <br> The current official version, as described in Royal Decree 1560/1997, is a sixteen-bar long phrase, divided in two sections, each one is made up of four repeated bars (AABB form). Tempo is set to ♩= 76 and key to B flat.<br> <br> The long, complete version is the honors music for the King, while a shorter version without the repetitions is performed for the President of the Government of Spain, the Prince of Asturias, or during sporting events.<br> <br> There are also three official arrangements: one for orchestra, another for military band, and a third for organ, written by Francisco Grau Vegara and requested by the Government of Spain. All in all, there are six different official adaptations, for each arrangement and length. They all were recorded by the Spanish National Orchestra and the Spanish Royal Guard Band as an official recording and released on compact disc for a limited period of time.<br> <br> As the harmonization of the Marcha Real was written by Bartolomé Pérez Casas in the early 1900s, the copyright has not yet expired. The government bought it from Pérez Casas’ estate in 1997 for 130,000,000 pesetas (~ € 781,316) to avoid future legal problems. Until it expires, the copyright belongs to the Ministry of Culture and collecting societies charge copyright fees, which has led to criticism.<br> <br> As a result, many different harmonisations have been devised by performers to avoid paying. Nonetheless, the rights to the 1997 Francisco Grau revision were transferred to the government at no charge, although they were not placed in the public domain.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com
$39.00
35.06 €
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Orchestre
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Manuel de Espinosa de los Monteros (1730-1810)
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Keith Terrett
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Spanish National Anthem for Symphony Orchestra
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Music for all Occasions
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SheetMusicPlus
Symphony No. 3 in A minor, op. 17 (parts)
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by Adrian Gagiu (A0.1357497). The orchestral parts of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale.The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's.The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material.The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins.Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
188.78 €
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Orchestre
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Adrian Gagiu
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Symphony No. 3 in A minor, op. 17
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Adrian Gagiu
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SheetMusicPlus
Symphony No. 3 in A minor, op. 17
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by Adrian Gagiu (A0.1356636). The score, parts and vocal score of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale. The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's. The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material. The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins. Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
188.78 €
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Orchestre
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Adrian Gagiu
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Symphony No. 3 in A minor, op. 17
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Adrian Gagiu
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SheetMusicPlus
Concerto for Guitar and Orchestra
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.809837 Composed by Robert E. Pr…
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Full Orchestra - Level 5 - Digital Download SKU: A0.809837 Composed by Robert E. Proctor. Contemporary. Score and parts. 179 pages. R. E. Proctor #3526877. Published by R. E. Proctor (A0.809837). Concerto for Guitar and Orchestra – Description and performance notes. The concerto provides a challenge for the performer and is delightful to the listener. It is written in the standard three movement concerto format: fast – slow – fast. A variety of musical colors, rhythms, and techniques are used. The first movement begins with an Adagio section which is marked Poco Rubato, followed by Allegro for the balance of the movement. The second movement is darker, and perhaps, a little sullen. The third movement is bright and harkens back to the guitar’s Spanish roots. The movement is happy and light, it has an abrupt and unexpected ending. Throughout the concerto the guitarist will use a wide range of techniques. The full sound spectrum of the guitar is utilized. The guitarist is asked to perform several rapid arpeggios (noted as Finger Roll) wherein the performer utilizes the thumb and fingers to rapidly play the notes in a chord. In other places, chords are to be played with three fingers playing up and the thumb to play down, using the nail (Flamenco style) – up and down referring to pitch. In the first movement, the thumb is used to tap the sound board. The guitar part is partially edited with suggested fingerings for clarity of intent. The balance is left for to the performer’s interpretation. In the second movement there is a completed tremolo section which requires the player to include the little or c finger. The inclusion of the c finger keeps the melodic line following without interruption. The second movement also has the melody played in artificial harmonics with the thumb playing simple a bass line. The third movement is the shortest. It has a challenging arpeggio pattern that uses the fingers strumming up and the thumb strumming down with rapid chord changes. The movements are in 4/4, 6/8, and 3/4 time respectively. Duration is approx. 13:18.
$19.95
17.93 €
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Orchestre
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Robert E
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Concerto for Guitar and Orchestra
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R. E. Proctor
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SheetMusicPlus
Hunter - Terminator 6 (for Orchestra)
Orchestre
Full Orchestra - Advanced Intermediate - Digital Download Arranged by Javier Mart&iac…
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Full Orchestra - Advanced Intermediate - Digital Download Arranged by Javier Martínez Maya. Score, Set of Parts. 51 pages. Published by Arte Nova Music Lab
The Terminator is a 1984 science fiction film directed by James Cameron. It stars Arnold Schwarzenegger as the Terminator, a cyborg assassin sent back in time from 2029 to 1984 to kill Sarah Connor (Linda Hamilton), whose son will one day save mankind from extinction by a hostile artificial intelligence in a post-apocalyptic future. Michael Biehn plays Kyle Reese, a soldier sent back in time to protect Sarah. The screenplay is credited to Cameron and producer Gale Anne Hurd, while co-writer William Wisher Jr. received a credit for additional dialogue.<br> <br> Cameron devised the premise of the film from a fever dream he experienced during the release of his first film, Piranha II: The Spawning (1982), in Rome, and developed the concept in collaboration with Wisher. He sold the rights to the project to fellow New World Pictures alumni Hurd on the condition that she would produce the film only if he were to direct it; Hurd eventually secured a distribution deal with Orion Pictures, while executive producers John Daly and Derek Gibson of Hemdale Film Corporation were instrumental in setting up the film's financing and production. Originally approached by Orion for the role of Reese, Schwarzenegger agreed to play the title character after befriending Cameron. Filming, which took place mostly at night on location in Los Angeles, was delayed because of Schwarzenegger's commitments to Conan the Destroyer (1984), during which Cameron found time to work on the scripts for Rambo: First Blood Part II (1985) and Aliens (1986). The film's special effects, which included miniatures and stop-motion animation, were created by a team of artists led by Stan Winstonand Gene Warren Jr.<br> <br> Defying low pre-release expectations, The Terminator topped the United States box office for two weeks, eventually grossing $78.3 million against a modest $6.4 million budget. It is credited with launching Cameron's film career and solidifying Schwarzenegger's status as a leading man. The film's success led to a franchiseconsisting of several sequels, a television series, comic books, novels and video games. In 2008, The Terminator was selected by the Library of Congress for preservation in the National Film Registry as "culturally, historically, or aesthetically significant".
$60.00
53.94 €
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Orchestre
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Javier Martínez Maya
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Hunter - Terminator 6
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Arte Nova Music Lab
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SheetMusicPlus
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