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Start Over Soca
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Vous avez sélectionné:
Start Over Soca
SheetMusicPlus
Partitions à imprimer
7 partitions trouvées
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1
Start Over Soca
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Ensemble de Percussions
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FACILE
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Adam Grim
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Start Over Soca
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Adam B. Grim
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SheetMusicPlus
Percussion Ensemble - Level 2 - SKU: A0.939357 Composed by Adam Grim. Concert,World. Score and parts. 15 pages. Adam B. Grim #2885497. Published by Adam...
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Percussion Ensemble - Level 2 - SKU: A0.939357 Composed by Adam Grim. Concert,World. Score and parts. 15 pages. Adam B. Grim #2885497. Published by Adam B. Grim (A0.939357). Start Over Soca is a soca that features the quick hands of the lead players. Many notes are repeated to create a falling or rising effect. The moving bass line will surely sound solid and the cellos and double seconds will have a fun time with the short features they get in the transition sections of the piece. In the middle, there is a false ending, which starts the beginning over again and plays a modified finale (Hence the Start Over Soca).
$35.00
Concerto grosso in B minor op. 6 no. 12
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Classique
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George Frideric Handel
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Adrian Gagiu
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2
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Concerto grosso in B minor op.
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Adrian Gagiu
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SheetMusicPlus
String Quartet String Quartet - Level 4 - SKU: A0.1156597 Composed by George Frideric Handel. Arranged by Adrian Gagiu. Baroque,Chamber. 44 pages. Adria...
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String Quartet String Quartet - Level 4 - SKU: A0.1156597 Composed by George Frideric Handel. Arranged by Adrian Gagiu. Baroque,Chamber. 44 pages. Adrian Gagiu #756921. Published by Adrian Gagiu (A0.1156597). Handel’s great set of 12 Concerti grossi (= Grand Concertos, in the first edition) op. 6 are somehow a bit related in spirit, through their power and diversity, with Beethoven’s string quartets. Therefore, here they are arranged for the more ‘abstract’ and ‘timeless’ medium of the string quartet, allowing also for an addition to the repertoire of the respective ensembles. Articulation, tempo and dynamics indications were specified or added where needed, and all the trills were indicated to start with the upper auxiliary note, not only according to the Baroque performance practice but also fitting to the melodic contour. Concerto grosso in B minor, op. 6 no. 12: 1. Largo-Allegro moderato – dramatic introduction, like in a French overture, then agitated and brilliant; 2. Aria (Larghetto) – soothing, with 2 variations; 3. Largo-Allegro – brief, tragic transition, then an animated fugue on a gigue-like theme. The mp3 audio clip is the final movement (Allegro). Total duration: 11 min. Performing Rights Organization: SOCAN.
$20.00
Concerto grosso in A major op. 6 no. 11
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Classique
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George Frideric Handel
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Adrian Gagiu
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2
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Concerto grosso in A major op.
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Adrian Gagiu
#
SheetMusicPlus
String Quartet String Quartet - Level 4 - SKU: A0.1156596 Composed by George Frideric Handel. Arranged by Adrian Gagiu. Baroque,Chamber. 48 pages. Adria...
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String Quartet String Quartet - Level 4 - SKU: A0.1156596 Composed by George Frideric Handel. Arranged by Adrian Gagiu. Baroque,Chamber. 48 pages. Adrian Gagiu #756920. Published by Adrian Gagiu (A0.1156596). Handel’s great set of 12 Concerti grossi (= Grand Concertos, in the first edition) op. 6 are somehow a bit related in spirit, through their power and diversity, with Beethoven’s string quartets. Therefore, here they are arranged for the more ‘abstract’ and ‘timeless’ medium of the string quartet, allowing also for an addition to the repertoire of the respective ensembles. Articulation, tempo and dynamics indications were specified or added where needed, and all the trills were indicated to start with the upper auxiliary note, not only according to the Baroque performance practice but also fitting to the melodic contour. Concerto grosso in A major, op. 6 no. 11: 1. Andante larghetto – solemn, complex introduction, like in a French overture; 2. Allegro – one of his best movements, a short and exhilarating fugue; 3. Largo-Andante molto mosso – slow and dramatic introduction, then soothing and elaborate; 4. Allegro – joyful and enthusiastic. The mp3 audio clip is the second movement. Total duration: 16 min 30 sec. Performing Rights Organization: SOCAN.
$20.00
We Wish You a "Bari" Christmas
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Noël
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Sean Breen
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Sean Breen & Associates
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We Wish You a "Bari"
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Sean Breen
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SheetMusicPlus
Woodwind Ensemble,Woodwind Trio Baritone Saxophone - Level 3 - SKU: A0.941602 Composed by Sean Breen. Arranged by Sean Breen & Associates. Christian,Chr...
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Woodwind Ensemble,Woodwind Trio Baritone Saxophone - Level 3 - SKU: A0.941602 Composed by Sean Breen. Arranged by Sean Breen & Associates. Christian,Christmas,Contemporary,Folk,Instructional. 7 pages. Sean Breen #3691611. Published by Sean Breen (A0.941602). Arranged for a Baritone Sax trio, We Wish You a Bari Christmas is a playful re-working of a holiday classic. Straying away from the traditional feel, Bari Christmas was written when I found myself playing in a band with three Baritone Sax players. The arrangement takes advantage of the wide range of the saxophone and pushes the limits of technical ability; starting first in a fairly easy key and later transitioning to a much more challenging one. This was done partly to overcome harmonies ending up too low in the bass clef (when pitched in C) and to add a twist to the arrangement. Arranged By: Sean Breen (SOCAN)Copyright 2011 - Sean BreenAll Rights Reserved.Published By: Sean Breen & AssociatesFor further licensing or performance rights, please send inquiries to: SeanBreen.Music@gmail.com2018 Holiday Contest Entry
$7.99
That's a Plenty for String Orchestra
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Orchestre à Cordes
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INTERMÉDIAIRE
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Jazz
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Lew Pollack
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Keith Terrett
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That's a Plenty for String Orc
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Keith Terrett
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SheetMusicPlus
String Orchestra - Level 3 - SKU: A0.746694 Composed by Lew Pollack. Arranged by Keith Terrett. 20th Century,Folk,Jazz,Traditional. 26 pages. Keith Terr...
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String Orchestra - Level 3 - SKU: A0.746694 Composed by Lew Pollack. Arranged by Keith Terrett. 20th Century,Folk,Jazz,Traditional. 26 pages. Keith Terrett #2856819. Published by Keith Terrett (A0.746694). Arrangement of That's a Plenty for String Orchestra. That’s a Plenty arranged for String Orchestra, is a 1914 ragtime piano piece composed by Lew Pollack. Lyrics by Ray Gilbert (born 1912) were added decades later. A number of popular vocal versions have been recorded, but the tune remains more performed as an instrumental. The composition started out as a rag, but is nowadays played as a part of the Dixieland jazz repertoire. The song has been recorded by numerous artists, and it is considered a jazz standard. The first recording was in 1917 by Prince’s Band, and the New Orleans Rhythm Kings recorded their rendition in 1923.Television comedian Jackie Gleason used it in his shows in the 1950s and 1960s. Among the hundreds of later recordings of this standard, particularly notable versions include: Freddy Martin and His Orchestra recorded a version of That’s A Plenty in 1950. Sheet music from the 1950 version featuring Freddy Martin on the cover has the lyrics printed inside. It was recorded by Albert Nicholas, clarinet, with The Big Chief Jazz Band in Oslo on August 29, 1955. Released on the 78 rpm record Philips P 53038. The Pollack and Gilbert song is not to be confused with a 1909 song of the same name by Henry Creamer and Bert Williams. For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret http://musicforalloccasions.org.uk http://www.sheetmusicplus.com/search?Ntt=keith+terrett 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 If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett.
$12.99
Symphony No. 3 in A minor, op. 17 (parts)
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Orchestre
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AVANCÉ
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by ...
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Full Orchestra - Level 5 - 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
Symphony No. 3 in A minor, op. 17
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Orchestre
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AVANCÉ
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Contemporain
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by ...
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Full Orchestra - Level 5 - 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
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Start Over Soca
