Concert band with choir/voice - Grade 4

SKU: RM.AMIO03445-CH

Composed by Jean Claude Amiot. Music with chorus, voices. Orchestra. Choral score. Editions Robert Martin #AMIO03445-CH. Published by Editions Robert Martin (RM.AMIO03445-CH).

Concert band with choir/voice - Grade 4

SKU: RM.AMIO03445-BA

Composed by Jean Claude Amiot. Music with chorus, voices. Orchestra. Full set. Editions Robert Martin #AMIO03445-BA. Published by Editions Robert Martin (RM.AMIO03445-BA).

ISBN 9790231034455.

Concert band with choir/voice - Grade 4

SKU: RM.AMIO03445-CO

Composed by Jean Claude Amiot. Music with chorus, voices. Orchestra. Conductor's score. Editions Robert Martin #AMIO03445-CO. Published by Editions Robert Martin (RM.AMIO03445-CO).

Marching band - Grade 2

SKU: RM.MORA03593-CO

Composed by Jacques Morali. Arranged by Max Desmurs. Marching band. Orchestra. Conductor's score. Duration 2 minutes, 2 seconds. Editions Robert Martin #MORA03593-CO. Published by Editions Robert Martin (RM.MORA03593-CO).

Orchestra - Grade 2.5

SKU: AP.49014

As Recorded by The Weeknd. Composed by Abel Tesfaye, Ahmad Balshe, Jason Quenneville, Max Martin, and Oscar Holter. Arranged by Michael Kamuf. MakeMusic Cloud; Performance Music Ensemble; String Orchestra. Pop Intermediate String Orchestra. Pop. Score and Part(s). 96 pages. Duration 2:45. Belwin Music #00-49014. Published by Belwin Music (AP.49014).

ISBN 9781470645366. UPC: 038081563947. English.

Canadian singer The Weeknd's hit Blinding Lights rose to number one on the charts in 34 countries including the U.S. and Canada. Taken from his fourth album After Hours and performed at the 2021 Super Bowl, the singer combines elements of pop music along with the synth-pop era of the 1980s. This piece is the perfect vehicle to reinforce syncopation while having fun! Arranged by Michael Kamuf, the infectious groove will make this a favorite of students and audience alike! (2:45) This title is available in MakeMusic Cloud.

Orchestra - Grade 2.5

SKU: AP.40430S

Composed by Benjamin Levin, Bonnie McKee, Lukasz Gottwald, Max Martin, and Taio Cruz. Arranged by Victor Lopez. Performance Music Ensemble; Single Titles; String Orchestra. Pop Intermediate String Orchestra. Light Concert; Pop. Score. 8 pages. Duration 1:45. Alfred Music #00-40430S. Published by Alfred Music (AP.40430S).

UPC: 038081458229. English.

This cool tune brings light-hearted fun to any program! The repetitive, easy to teach and play syncopation makes a great introduction to this rhythm. (1:45).

Orchestra - Grade 2

SKU: AP.43772S

From Katy Perry's Album PRISM. Composed by Bonnie McKee, Henry Walter, Katy Perry, Lukasz Gottwald, and Max Martin. Arranged by Victor Lopez. Performance Music Ensemble; Single Titles; String Orchestra. Pop Intermediate String Orchestra. Light Concert; Pop. Score. 8 pages. Duration 1:30. Alfred Music #00-43772S. Published by Alfred Music (AP.43772S).

UPC: 038081501123. English.

Music from one of the hottest, new music legends that all your students will know! This song is very playable and will certainly add energy and excitement to your next concert. (1:30).

Orchestra (Score)

SKU: HL.50579615

Composed by Bohuslav Martinu. Max Eschig. Study Score. Composed 2001. Hal Leonard #ME8464. Published by Hal Leonard (HL.50579615).

Orchestra (Score)

SKU: HL.50579405

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

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.

Conte xtures: 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.