Orchestra

SKU: FG.55011-315-2

Composed by Kalevi Aho. Study score. Fennica Gehrman #55011-315-2. Published by Fennica Gehrman (FG.55011-315-2).

ISBN 9790550113152.

The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.

Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time.

The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.

The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.

Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time.

The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.

The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.

Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time.

The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.

The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.

Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time.

The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.

(A Christmas Celebration for Choir and Four Narrators with optional Full Orchestra). By Stan Pethel. Orchestra. For Flute, Oboe, 2 Horns, 2 Trumpets, 2 Trombones, Percussion (Drum Set), Rhythm, 2 Violins, Viola, Cello, Contrabass, Piano. Cantata. Choral: Christmas. Orchestration. Published by Lorenz Publishing Company

(Suite for Winds & Percussion). By Timothy Broege. MusicWorks Grade 2. Concert Band. Score and full set of parts. Published by Hal Leonard.

By Claude T. Smith. MusicWorks Grade 3. Concert Band. Score and full set of parts. Size 8.5x11 inches. Published by Hal Leonard.

Orchestra

SKU: SU.80119016

For Orchestra. Composed by Meyer Kupferman. Orchestra. Score. Subito Music Corporation #80119016. Published by Subito Music Corporation (SU.80119016).

A Crucible for the Moon (1986) for high soprano, alto saxophone, and percussion ensemble (7 players) is a cantata set to an original text by the composer. This work has been recorded by Anne Tedards, soprano; David Matthew, saxophone; The University of Oregon Percussion Ensemble; Charles Dowd, conductor, on Soundspells Productions CD129: Moon Music 2000. Published by: Soundspells Productions This full performance set includes two scores (conductor and soprano) and a set of performance parts for saxophonist and the seven percussionists.

Orchestra - Grade 3

SKU: AP.38507S

Arranged by Julie Lyonn Lieberman. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Alternatives. Folk; Jewish Heritage; Light Concert; Multicultural; Traditional; World. Score. 12 pages. Highland/Etling #00-38507S. Published by Highland/Etling (AP.38507S).

UPC: 038081430515. English. Traditional.

Klezmer music offers thrilling rhythms and festive yet mysterious melodic themes. No wonder this style is so infectious! This tune is no exception. In the key of C, it challenges students with its Gemini notes that change identities, and its Eastern European modal scale that sports a gap of a minor third. The melody is unforgettable and guaranteed to create an enjoyable playing experience for your students. Includes three percussion parts that can be played by string students or percussionists: tenor drum, bass drum, and tambourine.

Composed by Stacy Garrop. For orchestra (2 flutes (2 doubles on piccolo), 2 oboes, 2 clarinets in Bb, 2 bassoons, 2 horns in F, trumpet in C, tenor trombone, bass trombone, 4 timpani, percussion - 2 players (to be divided by the percussionists):, small triangle, sizzle cymbal, small suspended cy). Contemporary. Full score - study. Standard Notation. 64 pages. Duration 11 minutes, 30 seconds. Theodore Presser Company #416-41494. Published by Theodore Presser Company

Orchestra

SKU: PR.11641867S

Composed by William Kraft. Full score. Duration 16 minutes, 25 seconds. Theodore Presser Company #116-41867S. Published by Theodore Presser Company (PR.11641867S).

UPC: 680160683208.

Contextures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.

Orchestra 2 Natural Trumpets, Percussion (2 players) & String Orchestra

SKU: PE.EP14361

For 2 Natural Trumpets, Percussion (2 players) and String Orchestra. Composed by Bernhard Gander. Chamber Orchestra. Form: March. Contemporary; Funeral. Score. 24 pages. Edition Peters #98-EP14361. Published by Edition Peters (PE.EP14361).

ISBN 9790014133177. German.

Maximal Funeral by Bernhard Gander is a 13-minute work for two natural trumpets, percussion (two players) and string orchestra. The piece is a long funeral march and was inspired by the fact that years before his death Emperor Maximilian always took a coffin with him on his travels to be prepared for it.

Maximal Funeral was made possible by the Hilde Zach Scholarship 2017 by the City of Innsbruck. The premiere performance by the Tiroler Kammerorchester InnStrumenti conducted by Gerhard Sammer took place on 9 March 2019 at the Canisianum, Innsbruck (Austria).

The full score (EP 14361) is available for sale as part of the Peters Contemporary Library. The performance material can be hired.

This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.

For Full Orchestra. By Johannes Brahms. Arranged by Roy Phillippe. Orchestra. For Flute I, Flute II, Oboe I, Oboe II, Clarinet I, Clarinet II, Bass Clarinet, Bassoon I, Bassoon II, Horn I, Horn II, Horn III, Horn IV, Trumpet I, Trumpet II, Trumpet III, Tenor I, Tenor II, Tenor III, Tuba, Timpani, Percussion I, Snare Drum, Bass Drum, Percussion II, Tambourine, Bells, Percussion III, Finger Cymbals, Violin I, Violin II, Violin (Viola, Treble Clef), Viola, Cello, Contrabass. This edition: score & parts. Carl Fischer Performance Series - Concert Full Orchestra. Classical. Level: Medium Easy/Medium. Score and parts. 16 pages. Published by Carl Fischer.

Orchestra - Grade 1.5

SKU: AP.48067

Composed by Michael Story. Full Orchestra; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Belwin Beginning Full Orchestra. Programmatic. Score and Part(s). 128 pages. Duration 2:00. Belwin Music #00-48067. Published by Belwin Music (AP.48067).

UPC: 038081556840. English.

Lost Tomb of the Incas by Michael Story will transport your orchestra to the ancient civilization of the Incas. Featuring full-sounding melodies, interesting rhythmic accompaniments, and exciting percussion parts, this piece can be performed by string orchestra alone, or with as many added winds and percussion as possible, up to full orchestra. A perfect piece to open or close any concert or festival! (2:00) This title is available in MakeMusic Cloud.

By Michael Richard Plowman, Tommy Tallarico, arranged by Victor Lopez. Conductors score and set of performance parts for full orchestra (1 - 1st flute, 1 - 2nd flute, 1 - oboe, 1 - 1st clarinet, 1 - 2nd clarinet, 1 - bass clarinet, 1 - bassoon, 1 - 1st horn in F, 1 - 2nd horn in F, 1 - 3rd horn in F, 1 - 4th horn in F, 1 - 1st trumpet, 1 - 2nd trumpet, 1 - 3rd trumpet, 1 - 1st trombone, 1 - 2nd trombone, 1 - 3rd trombone, 1 - tuba, 4 - mallet percussion, 1 - timpani, 2 - percussion I, 3 - percussion II, 1 - piano, 8 - 1st violin, 8 - 2nd violin, 5 - viola, 5 - cello, 5 - string bass). Series: Belwin Full Orchestra Concert Level. Published by Alfred Publishing.