| Come Fly With Me Orchestra [Score] - Intermediate Alfred Publishing
Orchestra - Grade 3.5 SKU: AP.49426S Composed by Mark Wood. Performance M...(+)
Orchestra - Grade 3.5 SKU: AP.49426S Composed by Mark Wood. Performance Music Ensemble; Single Titles; String Orchestra. Mark Wood Series. Pop/Rock; Rock. Score. Duration 4:00. Alfred Music #00-49426S. Published by Alfred Music (AP.49426S). ISBN 9781470650940. UPC: 038081571850. English. The composer, Mark Wood, writes: Come Fly with Me comes from my personal visualization of flying while improvising music. In writing a work which combines classical and American rock styles, I have created a vehicle for musicians to spread their wings and truly learn the beautiful art of composing their own music on the spot in the improvisation section. (4:00). $9.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Come Fly With Me Orchestra - Intermediate Alfred Publishing
Orchestra - Grade 3.5 SKU: AP.49426 Composed by Mark Wood. Performance Mu...(+)
Orchestra - Grade 3.5 SKU: AP.49426 Composed by Mark Wood. Performance Music Ensemble; Single Titles; String Orchestra. Mark Wood Series. Pop/Rock; Rock. Score and Part(s). Duration 4:00. Alfred Music #00-49426. Published by Alfred Music (AP.49426). ISBN 9781470650933. UPC: 038081571843. English. The composer, Mark Wood, writes: Come Fly with Me comes from my personal visualization of flying while improvising music. In writing a work which combines classical and American rock styles, I have created a vehicle for musicians to spread their wings and truly learn the beautiful art of composing their own music on the spot in the improvisation section. (4:00). $60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Requiem Orchestra [Study Score / Miniature] Schott
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (St...(+)
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score) SKU: HL.49018099 Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099). ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German. On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009. $93.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Symphony No. 6 - At the End of the Day Orchestra - Intermediate Wilhelm Hansen
Orchestra (Full Score) - Grade 4 SKU: HL.14032192 Full Score. Comp...(+)
Orchestra (Full Score) - Grade 4 SKU: HL.14032192 Full Score. Composed by Per Norgard. Music Sales America. 20Th Century, Classical. Softcover. 188 pages. Edition Wilhelm Hansen #KP00865. Published by Edition Wilhelm Hansen (HL.14032192). ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language). Symphony No. 6 for orchestra, 1997-99. Preface / Program Note:... with the Lord a day is like a thousand years, and a thousand years is like a day(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Gteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean when all is added up. However, in my opinion, nothing ever quite adds up, there is always something missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still something, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard. $125.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| How To Train Your Dragon 2 Orchestra [Score]
Orchestral Score. Composed by John Powell. Sheet music. Study score. Compose...(+)
Orchestral Score. Composed by
John Powell. Sheet music.
Study score. Composed 2014
(2021). 404 pages. Omni Music
Publishing #OMNI 50799.
Published by Omni Music
Publishing
$106.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Exhilaration Orchestra - Beginner Belwin
Orchestra - Grade 1 SKU: AP.49448 Composed by Cooper Ford. MakeMusic Clou...(+)
Orchestra - Grade 1 SKU: AP.49448 Composed by Cooper Ford. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Beginning String Orchestra. Score and Part(s). Duration 1:40. Belwin Music #00-49448. Published by Belwin Music (AP.49448). ISBN 9781470650384. UPC: 038081571164. English. Many special experiences are joyful or thrilling, such as flying for the first time, a big sports moment, or the excitement of a first concert. Whatever it might be, Cooper Ford's Exhilaration is a musical expression of the emotions that come from these memorable moments. Young musicians should find this both easily accessible and fun to play, as melodies are passed around to different sections while reinforcing foundational rhythms, notes within a D major scale, and playing with a big sound. Written with the young orchestra in mind, 2nd violin and viola parts are doubled, as well as cello and string bass. (1:40) This title is available in MakeMusic Cloud. $50.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Spiccato Palooza! Orchestra - Easy Alfred Publishing
Orchestra - Grade 2 SKU: AP.49464 Composed by Richard Meyer (ASCAP). Make...(+)
Orchestra - Grade 2 SKU: AP.49464 Composed by Richard Meyer (ASCAP). MakeMusic Cloud; Single Titles; String Orchestra. Sound Innovations for String Orchestra. Score and Part(s). Duration 2:30. Alfred Music #00-49464. Published by Alfred Music (AP.49464). ISBN 9781470650223. UPC: 038081571003. English. Written to help students develop their spiccato bow stroke, this energetic piece is a joyful celebration from the very first measure. The left hand challenges are minimal, allowing the players to focus on controlling their bow on and off the string. A contrasting call-and-response B section in minor mode briefly slows the pace down before the party resumes again. Over time, the overall tempo can be increased as the students become more and more proficient with this all important bow technique. Correlated to Sound Innovations, Book 2, Level 2. (2:30). $50.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Spiccato Palooza! Orchestra [Score] - Easy Alfred Publishing
Orchestra - Grade 2 SKU: AP.49464S Composed by Richard Meyer (ASCAP). Ser...(+)
Orchestra - Grade 2 SKU: AP.49464S Composed by Richard Meyer (ASCAP). Series; Single Titles; String Orchestra. Sound Innovations for String Orchestra. Score. Duration 2:30. Alfred Music #00-49464S. Published by Alfred Music (AP.49464S). ISBN 9781470650230. UPC: 038081571010. English. Written to help students develop their spiccato bow stroke, this energetic piece is a joyful celebration from the very first measure. The left hand challenges are minimal, allowing the players to focus on controlling their bow on and off the string. A contrasting call-and-response B section in minor mode briefly slows the pace down before the party resumes again. Over time, the overall tempo can be increased as the students become more and more proficient with this all important bow technique. Correlated to Sound Innovations, Book 2, Level 2. (2:30). $9.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Blue Heron Orchestra [Score] - Easy Highland/Etling
Orchestra - Grade 2 SKU: AP.24936S Composed by Edmund J. Siennicki. Perfo...(+)
Orchestra - Grade 2 SKU: AP.24936S Composed by Edmund J. Siennicki. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling Strictly Strings. Score. 8 pages. Highland/Etling #00-24936S. Published by Highland/Etling (AP.24936S). UPC: 038081275895. English. Imagine the stately bird, the blue heron, in the marshes along Lake Erie. When standing on one leg in the water, the bird is visible to the careful observer, yet their large wingspan makes them majestic flyers. This piece calls for a moderate tempo. After the short introduction, the next 16 measures are played piano, mezzo forte and forte. This is followed by two versions with variations. All players get to play the melody and bowings and dynamics make the music more interesting for the audience and performers as the piece comes to a loud ending. $6.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| UFO Orchestra [Score] Peermusic Classical
(Full Score). By Michael Daugherty (1954-). Full Score. Peermusic Classical. 186...(+)
(Full Score). By Michael Daugherty (1954-). Full Score. Peermusic Classical. 186 pages. Peermusic #62035-594. Published by Peermusic
$49.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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