Orchestra - Grade 3.5

SKU: AP.FO9912C

Arranged by Jerry Brubaker. Full Orchestra; Performance Music Ensemble; Single Titles. Pop Concert Full Orchestra. Light Concert; Movie. Score. 44 pages. Duration 7:24. Belwin Music #00-FO9912C. Published by Belwin Music (AP.FO9912C).

UPC: 654979000365. English.

The world has waited years, and finally, last May, the motion picture event of the century exploded on the screen. Jerry Brubaker presents a highly creative mix of these great themes from the power-packed John Williams' score: Star Wars (Main Theme), Anakin's Theme, Augie's Great Municipal Band, Duel of the Fates, and the End Credits. Every orchestra in the world will be playing this one! (7:24).

(The Journey from Darkness to Light). By Lloyd Larson. Arranged by Mary Mcdonald. Orchestra. For Flute, Clarinet, 2 Trumpet, Horn, 2 Trombone, Percussion, Piano, Synthesized Strings. Cantata. Choral: Advent. Orchestral Score and Parts. Published by Lorenz Publishing Company

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

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.

(IV. Princess Leia's Theme from Episode IV: A New Hope, V. Imperial March (Darth Vader's Theme)/ The Forest Battle from Episode V: The Empire Strikes Back and Episode VI: Return of the Jedi and VI. Star Wars (Main Title) from Episode I through VI) Composed by John Williams, arranged by Robert W. Smith. Conductor's score and set of performance parts for concert band (1 - piccolo, 3 - 1st flute, 3 - 2nd flute, 2 - oboe, 2 - bassoon, 3 - 1st clarinet, 3 - 2nd clarinet, 3 - 3rd clarinet, 2 - bass clarinet, 1 - contrabass clarinet, 2 - 1st alto saxophone, 2 - 2nd alto saxophone, 1 - tenor saxophone, 1 - baritone saxophone, 3 - 1st trumpet, 3 - 2nd trumpet, 3 - 3rd trumpet, 2 - 1st horn in F, 2 - 2nd horn in F, 2 - 1st trombone, 2 - 2nd trombone, 2 - 3rd trombone, 2 - euphonium, 1 - baritone (treble clef), 4 - tuba, 2 - piano/synthesizer, 4 - mallet percussion, 1 - timpani, 4 - percussion I, 3 - percussion II). Series: Belwin Concert Band Series. Published by Alfred Publishing.

Featuring "Princess Leia's Theme," "The Imperial March," "The Forest Battle," and "Star Wars! (Main Title)". By John Williams. Arranged by Robert W. Smith. For Full Orchestra. Full Orchestra. Pop Concert Full Orchestra. Movie. Level: 4 (grade 4). Conductor Score. 32 pages. Published by Alfred Publishing.

Score and Parts. By Renee Fleming. Arranged by Rob Mathes. Symphony Pops. Published by Hal Leonard

By Doerksen, Brian. Arranged by Jack Schrader. For Orchestra. (SAB or Three-Part). Call To Worship, Commitment, Gathering, Gospel, Praise and Worship and Sacred. Print Music Single (SAB). Published by Hope Publishing Company.

(Featuring the Carols of Alfred Burt). Arranged by Bob Krogstad and Ed Lojeski. For Full Orchestra (Score and Parts). HL Full Orchestra. Grade 3-4. Published by Hal Leonard

Full Orchestra (Full Score) - Grade 4

SKU: HL.4492291

Composed by Pasek and Paul. Arranged by Sean O'Loughlin. HL Full Orchestra. Movies. Softcover. Published by Hal Leonard (HL.4492291).

UPC: 888680738952. 9.0x12.0x0.059 inches.

From the songwriting team who brought us Dear Evan Hansen and La La Land, the blockbuster movie musical The Greatest Showman is based on the true story of P.T. Barnum with Hugh Jackman in the title role. This arrangement of the powerful songs from the film is a dynamic musical montage for the concert stage. Includes Come Alive, The Greatest Show, A Million Dreams, Rewrite the Stars and This Is Me.

A Galactic Journey. Composed by Anthony Granata. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Part(s); Score. Alfred Music #00-49031. Published by Alfred Music

Orchestra - Grade 2

SKU: AP.49031S

A Galactic Journey. Composed by Anthony Granata. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Score. 12 pages. Duration 1:45. Belwin Music #00-49031S. Published by Belwin Music (AP.49031S).

ISBN 9781470645472. UPC: 038081564012. English.

Written by Anthony Granata, Into the Stars: A Galactic Journey is an exciting space-themed adventure piece that will captivate your developing orchestras and have them feeling and playing confidently in 6/8 time. With an epic and memorable sounding main theme, your students will be transported into a world of simple and compound meters as they dig into their strings for this fun programmatic piece of music. Students will feel as though they have stepped into the sound stage for a film score of a Hollywood science fiction movie. (1:45).

Orchestra

SKU: PR.41641530L

For Suona And Orchestra. Composed by Narong Prangcharoen. Large Score. 58 pages. Duration 15 minutes. Theodore Presser Company #416-41530L. Published by Theodore Presser Company (PR.41641530L).

UPC: 680160625925.

The Respiration of the Earth is inspired by the breathing motion. The music focuses on the tension of the air of breathing. There are many different types of breathing such as slow breath, long breath, short breath, holding breath, uneven breath, etc. The shape of the music is created by the inhale and exhale motion. The piece starts with a long holding breath, gradually create a tension until one can't hold that breath and release the air out. The Suona is acting as the motion of the air so the orchestra has to follow. This piece ends with the chaotic motion so the audiences can feel the tension as if they are running out of breath. It's a main concern about the environment of the Earth so this piece is a message to people to keep the environment clean so the Earth can breath for a longer time. Respiration of the Earth is commissioned and dedicated to Mr. Shi Haibin with the gracious support from John Simon Guggenheim Foundation.
The Respiration of the Earth is inspired by the breathing motion. The music focuses on the tension of the air of breathing. There are many different types of breathing such as slow breath, long breath, short breath, holding breath, uneven breath, etc. The shape of the music is created by the inhale and exhale motion. The piece starts with a long holding breath, gradually create a tension until one can’t hold that breath and release the air out. The Suona is acting as the motion of the air so the orchestra has to follow. This piece ends with the chaotic motion so the audiences can feel the tension as if they are running out of breath. It’s a main concern about the environment of the Earth so this piece is a message to people to keep the environment clean so the Earth can breath for a longer time.Respiration of the Earth is commissioned and dedicated to Mr. Shi Haibin with the gracious support from John SimonGuggenheim Foundation.

Orchestra

SKU: SU.32040140

For Orchestra. Composed by Amy Riebs Mills. Orchestra. Full Score. Subito Music Corporation #32040140. Published by Subito Music Corporation (SU.32040140).

2222; 4331; timp, 2 perc, pno; stgs Duration: 13'30 Composed: 2016 Published by: Amy Mills Music, LLC Like a modern Pictures at an Exhibition…. Ha Shamayim is an original piece for orchestra that was inspired by photographs taken by the Hubble space telescope. Each section is inspired by one photo; the title of each section is the title that NASA gave to the photograph. The words Ha Shamayim are Hebrew for The Heavens. They are written in Genesis 1:1, In the beginning God created the heavens and the earth. The words are also seen in Psalm 19. Section I: Warped Edge-On Galaxy ESO 510-G13 The piece begins in outer space with its glistening stars. Glissandi are used to depict the strange but beautiful warp seen in the photograph. Section II: Galaxy Fires at Neighboring Galaxy Suddenly the piece erupts as one galaxy fires blue gas at its neighbor. They engage in a cosmic battle. Section III: Youthful-looking Galaxy May Be an Adult The adolescent galaxy is personified by a humorous, gawky melody reminiscent of teenage boys who walk on feet that are still too big. Occasionally there is an argument with an authority figure, but the joy of exploring the universe quickly returns. Section IV: Star Birth in Galaxy M83 The dramatic photograph looks like a womb with veins. The music begins on one note, then it begins to explore the initial swelling and stretching. It morphs into an energetic fast theme, still growing. Ultimately it becomes glorious and expansive, like the new star. Section V: String of ‘Cosmic Pearls’ Surrounds an Exploding Star The first theme is a happy circle dance inspired by the circle of white dots in the photograph. The second theme is noble and joyful. It is reminiscent of the melody in the famous chorus in Haydn’s The Creation with the words from Psalm 19, The heavens are telling the glory of God. The music then has flashbacks to the earlier sections, and ends in triumph. The five sections in Ha Shamayim are continuous with no breaks. Difficulty Level: 5 (Advanced/Professional) See composer website for audio sample. Performance materials available on rental only:.

By John Stafford Smith, Words By Francis Scott Key. Arranged by Peter Breiner. Music by John Stafford Smith, words by Francis Scott Key / arr. Peter Breiner. For Full Orchestra. Full Orchestra. Belwin Concert Full Orchestra. Patriotic. Level: 3 (grade 3). Conductor Score

Composed by John Williams. For flute I,II, piccolo (flute III), oboe I,II, Bb clarinet I,II, Bb bass clarinet, bassoon I,II, F horn, Bb trumpet I-III, trombone I,II, bass trombone, tuba, timpani, percussion I,II, harp, piano/celeste, violin I,II, viola, cello and contrabass. From the motion picture "Star Wars". Format: full score (spiral bound). Movies. Series: Hal Leonard John Williams Signature Edition. 131 pages. 10.5x14 inches. Published by Hal Leonard.

Score and Parts. By John Williams. John Williams Signature Orch. Size 10.5x14 inches. Published by Hal Leonard.

SKU: CL.016-0180-00

Arranged by Allen. Orchestra. Score and set of parts. Composed 1911. C.L. Barnhouse #016-0180-00. Published by C.L. Barnhouse (CL.016-0180-00).

This product contains three titles on one sheet of music: America Red, White and Blue The Star Spangled Banner NOTE: This is a vintage orchestra publication, designed for the small theater orchestras of the very late 1800s and early 1900s – whose instrumentation varies considerably from a modern full orchestra work. Parts for standard string instruments are included, along with wind and percussion parts as scored by the musical judgment of the composer or arranger. Be cautioned that published parts might include less familiar transpositions, such as Clarinet or Cornet in A, Horn in Eb, etc. Please contact us with any specific instrumentation questions.

Arranged by Jerry Brubaker. Arr. Jerry Brubaker. For Full Orchestra. Full Orchestra. Pop Concert Full Orchestra. Movie. Level: Medium Easy to Medium (grade III-IV). Conductor Score and Parts. 426 pages. Duration 7:24. Published by Alfred Publishing.

Full orchestra

SKU: LO.30-3781L

Composed by Mary McDonald. Choral. Sacred Anthem, Patriotic. Orchestral score and CD with printable parts. Lorenz Publishing Company #30/3781L. Published by Lorenz Publishing Company (LO.30-3781L).

UPC: 000308156171.

Orche stral Score and CD with Printable Parts for 10/5426L and 10/5461L This bold and dramatic setting of The Star-Spangled Banner is one for your choral library. The piano accompaniment stands strongly on its own, but the arrangement can be elevated with a stunning orchestration. It includes an optional ending for traditional national anthem performances and an additional verse for an expanded, powerful ending.

Composed by John Williams. Arranged by Stephen Bulla. HL Full Orchestra. Movies. Softcover. 36 pages. Published by Hal Leonard (HL.4491714).

By John Williams. Arranged by Robert W. Smith. For Full Orchestra. Full Orchestra. Pop Concert Full Orchestra. 0. Movie. Level: grade 4. Conductor Score and Parts. 232 pages. Published by Alfred Publishing.

By John Williams. Arranged by Robert W. Smith. For Full Orchestra. Full Orchestra. Pop Concert Full Orchestra. Movie. Conductor Score and Parts. 200 pages. Published by Alfred Publishing.
Level: 4 (grade 4).

By John Williams. Arranged by Robert W. Smith. For Full Orchestra. Full Orchestra. Pop Concert Full Orchestra. Movie. Conductor Score. 28 pages. Published by Alfred Publishing.
Level: 4 (grade 4).

By J. Williams. John Williams Signature Edition. Size 11x14 inches. Published by Hal Leonard.

Composed by John Williams. Arranged by Sean O'Loughlin. HL Full Orchestra. Softcover. Published by Hal Leonard

Composed by John Williams. Arranged by Sean O'Loughlin. HL Full Orchestra. Softcover. Published by Hal Leonard