Music for Japan is a terrific and rousing composition for orchestra by Peter Sculthorpe written in 1970. The slow yet significant meandering timbre and accent work towards to a middle section for amplified percussion strongly rhythmic and develops into an exciting and inspiring character. Then beautiful swirling effects add to the final chordal structure with its exultant layers of orchestral sound. This is the complete score for Full Orchestra.

Suite of four pieces for Orchestra with click tracks.First published in 1990.Commissioned by the Sonic Arts Network.First performed at the Festival of Britidh Music Kyoto Japan 1992.

This complete orchestration by Robert Russell Bennett the arranger of the original Broadway production is a standard among professional and community orchestras alike and includes The Sound of Music (main title) How Can Love Survive The Lonely Goatherd My Favorite Things Sixteen Going on Seventeen Do-R?-Mi Edelweiss An Ordinary Couple No Way to Stop It Maria and Climb Ev'ry Mountain. (Score is not available separately) Duration-ca. 10:30

Elisabeth Lutyens' music from the film 'The Skull' (1965). A3 conductor's score.Instrumentation: 2 Flutes (doubling Alto flute and Piccolo) 2 Clarinets (doubling Bass clarinet and Contrabass clarinet) 3 Horns 3 Trombones 2 Percussion Timpani Harp Piano Cimbalom Organ Violas (divisi) Cellos (divisi) Double bass.

Par . The Symphony: From Mannheim to Mahler is a fascinating and accessible guide that considers the development of the symphony from a number of different perspectives: analytical, historical, and critical. Exploring important milestones, touchpoints, events, key works, and the composers that surround the genre, it also includes a composer timeline, detailed case studies and comprehensive music examples. This handy and informative book is ideal for GCSE, A-Level, and undergraduate music students, as well as anyone wanting to study and learn more about the genre. Christopher Tarrant is Lecturer in Music Analysis at Newcastle University. He received his PhD from Royal Holloway, University of London and now teaches and writes about concert music of the long nineteenth century with a special emphasis on theory of form and the Nordic symphony. Christopher is also a violinist and conductor. Natalie Wild is Director of Research and Deputy Director of Music at the Music in Secondary Schools Trust (MiSST). Her research focuses on the role a classical music education can play in breaking down social barriers. Natalie has taught both GCSE and A-Level Music for many years as Head of Music in various inner-city schools. / Date parution : 2022-05-17/ Livre / Orchestre

Full Score-The Persian traditional music (called the Dastgah Segah) is based on intervals made of three quarter-tones and natural whole-tones. Segah has no interval in common with the European/ Western equal-temperament tuning. This lack of common intervalsbetween the Segah mode and the equal-temperament tuning will lead to a cognitive dissonance if this mode is set against the equal-temperament system. My goal has been to elaborate on the innate tensions that exists between the two interval systemsand use it as a symbol for the existing political and cultural tensions between the Persian and the Western cultures. The piece consists of two Persian traditional instruments the Ney (Persian vertical bamboo flute) and the Kamanche (Persian spikefiddle) as the musical representatives of the Persian culture set against the Western orchestra as the musical representative of the Western culture. A small ensemble of Western instruments consisting of a harp and string quintet accompanies thePersian instruments. The harp is tuned to the Segah intervals and the string quintet plays in the Segah mode. The orchestra is performing inthe Western equal- temperament tuning. From the very first bars of the main section of the piece confusionsand misunderstandings arise. The orchestra being unable to play in Segah or understand the mode becomes more and more agitated. Musical tensions between the soloists and the orchestra lead to musical confrontations and finally to musicalviolence. The orchestra becomes extremely violent and militaristic and tries to suppress the soloists efforts to express their musical thoughts. In the midst of all these confusions and cultural misunderstandings musical connections and attractionsstart to take place. The orchestra and the soloists find themselves musically attracted to each other and start imitating each others musical phrases. Cognitive dissonances start to be gradually transformed to musical dialogues symbolizing thegradual replacement of the clash of civilizations with the dialogue of civilizations. Segah was written for Khosrow and Kian Soltani and premiered at the Segah Festival on January 15 2016.

Wish You Were Here written for the Boston Pops pays homage to Colin McPhee one of the first western musicologists to study Balinese gamelan as well as to the great illustrators Carl Barks and Herge (responsible for Donald Duck & Tintin respectively). Muhly has written a completely romantic and fanciful gamelan-influenced piece. On top of this twittery and excited music a long lonesome melody unfolds. After a desolate interlude with severe ship’s-horn brass the energetic patterns start again and the long line returns this time with a triumphant revelatory ending. Arranged for orchestra this piece has a duration ofapproximately 8 minutes.

This four-language dictionary of music contains more than 4000 terms and is intended for musicians, teachers, students and amateurs who wish to understand and use specialist foreign terms. The book is not academic in scope- it is based on practical experience, derived from the examination of directions given on a large number of orchestral scores, piano pieces and transcriptions, and instrumental parts. In order to complement and clarify this vocabulary, specialist dictionaries and reference books have been consulted. Contemporary musical terms taken, for example, from the fields of jazz, pop and electronic music, have also been included. / Livre

Danzas is a suite inspired by the music of Latin America. It is a great choice for a Pops or an outdoor concert and is playable by amateur and student ensembles as well as professional orchestras. The work consists of three movements each devoted to the musicalculture of a different country: 1. Argentina 2. Brazil 3. Cuba. It may be performed as a whole or individual movements may be played instead as an opener/ closer.

The publication of the new Urtext edition of Water Music makes the work available in a revised edition reflecting the latest research findings. In October 2004 the editor Terence Best found the oldest surviving manuscript score in the archives of the Royal Society of Musicians in London primary source A which can be dated to 1718. This discovery demands a dramatic reappraisal of what is probably Handel?s most famous work.Until this find the theory formulated by Barrett Lennard in 1950 was regarded as authoritative. He divided the material into three suites according to key and instrumentation. This was based on the fact that some ofthe material in the Water Music is the same as in the Concerto HWV 331. With the help of the latest technology it has now been possible to date this Concerto to 1722. By doing this the rationale for dividing the music into three suites has been removed. The newly found primary source A places the movements in a richly varied sequence of keys and instrumentations which offers a great range of colours than the previous arrangement.Based on new sources editor Terence Best has been able to reconstruct the original order of the suites and correct many points left open or unclarified in earlier publications.- New critical edition based on new sources.- Detailed Prefaces (Ger/Eng).- Urtext of the ?Halle Handel Edition?

Edited by Kenneth ElliottContaining a wide-ranging anthology of Latin church music music of the reformed church songs and instrumental music - music of court cathedral and castle kirk burgh and countryside. This has remained one of the most popular Musica Britannica volumes amongst both scholars and performers.First published in 1957 revised 1964 1975.

The theme from the film 'The Big Country' is surely the epitome of 'Western' music: you can see the cowboys the cattle the arid landscape the waggons spread out before you! Jerome Moross wrote a large amount of music but nothing that quite matched up to the brilliance of this piece. Arranged here for full orchestra by Richard Ling. Score and Parts.Orchestration: 2 Flutes 2 Oboes 2 Clarinets in Bb Alto Saxophone (optional) 2 Bassoons 2 Horns in F 3 Trumpets in Bb 3 Trombones Tuba Timpani Percussion (Side drum Bass drum Cymbal Glockenspiel) Strings (Violin 1 Violin 2 Viola Cello Bass)