Concert Band; Orchestra - Grade 1.5

SKU: AP.49116S

Composed by Scott Watson. 5 or More; MakeMusic Cloud; Mixed Instruments - Flexible Instrumentation; Performance Music Ensemble; Quartet; Single Titles; Solo Small Ensembles. Sound Innovations for Concert Band. Score. 20 pages. Duration 4:40. Alfred Music #00-49116S. Published by Alfred Music (AP.49116S).

UPC: 038081563428. English.

This version of Escape from Thunder Mountain by Scott Watson is part of our Alfred FLEX offerings and is designed with maximum flexibility for use by any mix of instruments---wind, strings, and percussion, including like- or mixed-ensembles with as few as 4 players. The suggested instrumentation and a customizable Teacher Map will help you plan out how to best assign parts to suit your ensemble's needs. The 4-part instrumentation will support balanced instrumentation of the lower voices. It also comes with supplemental parts for maximum flexibility. With the purchase of this piece, permission is granted to photocopy the parts as needed for your ensemble. A percussion accompaniment track is also available as a free download. String parts have been carefully edited with extra fingerings and appropriate bowings to support students in mixed ensembles playing in less familiar keys.

The tropical island volcano, Thunder Mountain, has lain dormant for years. As a party of adventurous researchers work atop the legendary mountain, it begins to shake with pre-eruption tremors! Check out this original composition by Scott Watson! (4:40)

Percussion Accompaniment Track Downloads:
with click
without click.

This title is available in MakeMusic Cloud.

Concert Band; Orchestra - Grade 1.5

SKU: AP.49116

Composed by Scott Watson. 5 or More; MakeMusic Cloud; Mixed Instruments - Flexible Instrumentation; Performance Music Ensemble; Quartet; Single Titles; Solo Small Ensembles. Sound Innovations for Concert Band. Score and Part(s). 146 pages. Duration 4:40. Alfred Music #00-49116. Published by Alfred Music (AP.49116).

UPC: 038081563411. English.

This version of Escape from Thunder Mountain by Scott Watson is part of our Alfred FLEX offerings and is designed with maximum flexibility for use by any mix of instruments---wind, strings, and percussion, including like- or mixed-ensembles with as few as 4 players. The suggested instrumentation and a customizable Teacher Map will help you plan out how to best assign parts to suit your ensemble's needs. The 4-part instrumentation will support balanced instrumentation of the lower voices. It also comes with supplemental parts for maximum flexibility. With the purchase of this piece, permission is granted to photocopy the parts as needed for your ensemble. A percussion accompaniment track is also available as a free download. String parts have been carefully edited with extra fingerings and appropriate bowings to support students in mixed ensembles playing in less familiar keys.

The tropical island volcano, Thunder Mountain, has lain dormant for years. As a party of adventurous researchers work atop the legendary mountain, it begins to shake with pre-eruption tremors! Check out this original composition by Scott Watson! (4:40)

Percussion Accompaniment Track Downloads:
with click
without click.

This title is available in MakeMusic Cloud.

By Michael Sweeney. MusicWorks Grade 2. Concert Band. Score and full set of parts. Size 9x12 inches. Published by Hal Leonard.

Orchestra - Grade 3

SKU: AP.48093S

Composed by Bob Phillips. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Score. 20 pages. Duration 4:15. Highland/Etling #00-48093S. Published by Highland/Etling (AP.48093S).

UPC: 038081558721. English.

Full of energy and life, Streaks of Thunder, an original piece by Bob Phillips, includes moments of sheer exuberance as well as reflection. The series of memorable melodies and driving rhythms streak through all sections in an almost call and response between upper and lower strings. Excitement abounds in this piece, making it a great opener or closer! (4:15) This title available in MakeMusic Cloud.

Orchestra - Grade 3

SKU: AP.48093

Composed by Bob Phillips. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Programmatic. Score and Part(s). 128 pages. Duration 4:15. Highland/Etling #00-48093. Published by Highland/Etling (AP.48093).

UPC: 038081558714. English.

Full of energy and life, Streaks of Thunder, an original piece by Bob Phillips, includes moments of sheer exuberance as well as reflection. The series of memorable melodies and driving rhythms streak through all sections in an almost call and response between upper and lower strings. Excitement abounds in this piece, making it a great opener or closer! (4:15) This title is available in MakeMusic Cloud.

By Richard L. Saucedo. MusicWorks Grade 2. Concert Band. Score and full set of parts. Size 9x12 inches. Published by Hal Leonard.

Orchestra (4(2picc).3(cor ang).heck.Eb-clar.2.Bb-cl ar(clar).4(dble bsn) - 8(4T-tuba).2alphn.4.4.2 - org.cel - 2hp.2timp.perc(6).wind m.thunder m - str - off stage: 12hn.2trp.2tbne)

SKU: BR.PB-5710

Tone Poem - Urtext. Composed by Richard Strauss. Edited by Nick Pfefferkorn. Orchestra; Softbound. Partitur-Bibliothek (Score Library). Symphonic poem; Late-romantic; Early modern. Sheet Music. 204 pages. Duration 50'. Breitkopf and Haertel #PB 5710. Published by Breitkopf and Haertel (BR.PB-5710).

ISBN 9790004216477. 10.5 x 14 inches.

Richard Strauss's last completed tone poem is regarded as the pinnacle of his art of orchestration: Now I've finally learned to orchestrate, he himself is once supposed to have said about it after the dress rehearsal. The single-movement Alpine symphony that we know today ultimately evolved - over almost 15 years - from the original drafts of an artist's tragedy, titled Der Antichrist. Eine Alpensinfonie [The Antichrist. An Alpine Symphony] up to the stage of the last sketches. With unprecedented plasticity, the work showcases a (metaphysical?) mountain hike with stops in the forest, at the waterfall, on the alpine pasture and, of course, at the summit. Apropos alpine pastures: up to the score's fair copy stage, Strauss envisaged a high and a low alphorn for the section Auf der Alm [On the Alpine Pasture] and the well-known Dulioh theme, though for various reasons first detailed in our new Urtext edition, these exotic instruments did not find their way into the printed version. In the new edition, the editor, Nick Pfefferkorn, reproduces the alphorn passages in small print, also adding two alphorn parts to the performance material, besides evaluating the corrections made by Walter Seifert at Strauss's request.

First Urtext edition since the first editionEvaluation of all available sources, including sketches and the score corrected by Walter Seifert Extensive preface on the work's compositional history and receptionDetailed Critical ReportFacsimile pages.

Orchestra - Grade 1.5

SKU: AP.47428

Composed by Victor Lopez. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Beginning String Orchestra. Score and Part(s). 78 pages. Duration 2:03. Belwin Music #00-47428. Published by Belwin Music (AP.47428).

UPC: 038081547107. English.

This piece is a vibrant composition that will make your developing string orchestra sound mature. The accented quarter notes provide a great opportunity to teach the marcato bow stroke to all sections. All instruments get a chance to experience a flurry of musical excitement and energy. A perfect choice for any contest or festival.

Orchestra

SKU: PR.416415760

For Really Big Orchestra. Composed by PDQ Bach. Edited by Prof. Peter Schickele. Study Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576. Published by Theodore Presser Company (PR.416415760).

UPC: 680160636532. 9 x 12 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

Orchestra (3 flutes (piccolo), 2 oboes, 2 clarinets, 2 bassoons; 4 horns, 3 trumpets, 3 trombones (bass), tuba; timpani, 3 percussion, harp, piano; strings)

SKU: SU.90810110

For Orchestra. Composed by Nancy Galbraith. Orchestra. Study Score. Composed 2002. Duration 20'. Subito Music Corporation #90810110. Published by Subito Music Corporation (SU.90810110).

Instrumentation : 3fl(picc), 2ob, 2cl, 2bn; 4hn, 3tpt, 3tbn(bs), tba; timp, 3perc, hrp, pno; strings Duration: 20' Full Score & Parts: available on rental Composed in 2002. Published by: Subito Music Publishing Composer's Note: De profundis ad lucem (out of the depths towards light) opens with an atmosphere of stillness, out of which two main sections emerge, one reflecting hope and the other struggle. Hope is expressed with a recurring theme that gradually layers upon itself, imparting a feeling of birth. This section suddenly gives way to struggle, represented with loud brass, biting accents, and thundering timpani figures. Following an extended musical landscape, these two sections return, only in reverse, with struggle resolving into hope. The work ends in tranquillity as it began. --N.G.

Orchestra

SKU: PR.41641576L

For Really Big Orchestra. Composed by PDQ Bach. Edited by Peter Schickele. Large Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576L. Published by Theodore Presser Company (PR.41641576L).

UPC: 680160636549. 11 x 17 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

Orchestra - Grade 1.5

SKU: AP.47428S

Composed by Victor Lopez. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Beginning String Orchestra. Score. 8 pages. Duration 2:03. Belwin Music #00-47428S. Published by Belwin Music (AP.47428S).

UPC: 038081547114. English.

This piece is a vibrant composition that will make your developing string orchestra sound mature. The accented quarter notes provide a great opportunity to teach the marcato bow stroke to all sections. All instruments get a chance to experience a flurry of musical excitement and energy. A perfect choice for any contest or festival.

By Johann Strauss, Jr. Music by Johann Strauss. For Full Orchestra. Full Orchestra. First Philharmonic. Level: 2 (grade 2). Conductor Score and Parts. 2 pages. Published by Alfred Publishing.

Orchestra - Grade 3

SKU: AP.44812S

Composed by Richard Strauss. Arranged by Jeffrey E. Turner. Masterworks; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Concert String Orchestra. Form: Transcription. 20th Century; Fall; Halloween; Masterwork Arrangement; Romantic. Score. 4 pages. Duration 1:45. Belwin Music #00-44812S. Published by Belwin Music (AP.44812S).

UPC: 038081517445. English.

The perfect opener! Right from the first few notes, the audience will be captivated and ready for this famous theme. This opening fanfare to Strauss' masterpiece, arranged by Jeffrey Turner, is an experience that every young musician should get a chance to play. An optional timpani part is included, adding a little bit of thunder to the piece. Great for Halloween concerts too! (1:45).

By Johann Strauss. Music by Johann Strauss. For Full Orchestra. Full Orchestra. First Philharmonic. Conductor Score. 16 pages. Published by Alfred Publishing.
Level: 2 (grade 2).

String Orchestra string orchestra (88555) with optional 3rd violin/viola TC (3) and piano - Grade 1

SKU: KN.8664

(The Running Of The Bulls). Composed by Frank Halferty. Accent String Orchestra. Score and set of parts. Duration 2 minutes, 10 seconds. Kendor Music Inc #8664. Published by Kendor Music Inc (KN.8664).

UPC: 822795086645.

With strong accents, vibrant tremolos, a suspenseful trill, and pizzicatos in just the right places, this pulsating portrait of bulls running freely through the streets of Pamplona, Spain is destined to be a big winner with players and audiences. Duration 2:10. Available in SmartMusic.

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 - large. Standard Notation. 64 pages. Duration 11 minutes, 30 seconds. Theodore Presser Company #416-41494L. Published by Theodore Presser Company

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 (Score)

SKU: HL.50579405

Composed by Bohuslav Martinu. Max Eschig. Study Score. Composed 2001. Hal Leonard #ME7788. Published by Hal Leonard (HL.50579405).