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.

Normal ly, 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.

Orchestra

SKU: PR.11641867L

Composed by William Kraft. Spiral. Large Score. Duration 16 minutes, 25 seconds. Theodore Presser Company #116-41867L. Published by Theodore Presser Company (PR.11641867L).

UPC: 680160683215.

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.

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.

Orchestra - Grade 1

SKU: AP.49907

Composed by Cooper Ford. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Belwin Beginning String Orchestra. Light Concert. Score and Part(s). Duration 2:00. Belwin Music #00-49907. Published by Belwin Music (AP.49907).

ISBN 9781470657925. UPC: 038081575780. English.

Playground s are full of children having fun together. No matter their background, the laughter and shrieks of joy are the same as they run and play. Playground Games by Cooper Ford is a playful musical portrait of this experience. In the first section, the children gather for their game as the melody is supported by building rhythmic energy. The second section depicts another game in a round. Finally, it's time to go home, but only after one quick moment to finish! This piece uses only the notes of a D major scale and simple rhythms. Parts are doubled in second violin/viola and cello/bass. (2:00).

Orchestra - Grade 1

SKU: AP.49907S

Composed by Cooper Ford. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Beginning String Orchestra. Light Concert. Score. Duration 2:00. Belwin Music #00-49907S. Published by Belwin Music (AP.49907S).

ISBN 9781470657932. UPC: 038081575797. English.

Playground s are full of children having fun together. No matter their background, the laughter and shrieks of joy are the same as they run and play. Playground Games by Cooper Ford is a playful musical portrait of this experience. In the first section, the children gather for their game as the melody is supported by building rhythmic energy. The second section depicts another game in a round. Finally, it's time to go home, but only after one quick moment to finish! This piece uses only the notes of a D major scale and simple rhythms. Parts are doubled in second violin/viola and cello/bass. (2:00).

Orchestra

SKU: SU.91580100

For Orchestra. Composed by Steven Mercurio. Vocal/Choral, Opera. CD (Audio). Subito Music Corporation #91580100. Published by Subito Music Corporation (SU.91580100).

A Grateful Tail - Movement by Movement Siriusly, Dog Star Sirius, the brightest star in the night sky, has been used by travelers and navigators for thousands of years as a guiding star and so it is here as the opening movement for the symphony. Sirius, the cornerstone to the constellation Canis Maggiore or Big Dog sits at the foot of Orion, the hunter, leading the way. Highly cinematic, the movement evokes both a musical and visual sense of the mythological and mysterious elements of Sirius and its Dog Godstar secrets. From the clarion call of the opening, Sirius theme, the sound is buoyant and frisky emulating the nature of doggy playtime. Puppy pleasures abound as a doggy four-step, my turn on the traditional American two-step dance, is introduced. The movement transforms into an actual orchestrated frolic of small, large and medium dog barks beginning with the winds (smaller dogs) and ultimately, the big dog, brass. The movement climaxes with the coda or, Dog Park, where the winds and the brass bark and play together over the, doggy ostinato four-step rhythm, culminating with the final call of the Sirius theme. Let Sleeping Dogs Lie, Peacefully It's all in a dog's day and life. Tranquility presides over this supremely gentle, intermezzo-like movement. After a day of play, every dog needs rest. Let Sleeping Dogs Lie, is a lyrical andante inspired by the profound serenity and beauty of a dog at rest. The Last Will and Testament of Silverdene Emblem O'Neill Based on a powerful piece of prose written by the American playwright, Eugene O'Neill this text was intended as a consolation piece for Carlotta, his wife, who had become grief-stricken over the loss of their beloved dog, the Dalmatian known as Blemie.Written for a singing actor who personifies the role of Blemie, a dog at the end of his life, the movement plays like a one act, musical drama as we follow Blemie through a wonderfully three-dimensional, emotional and psychological journey writing his Last Will and Testament, for those who have loved him. Wagging the Tail: Ossia Fido's Lament A life-affirming rumba/samba using Blemie's final words from O'Neill's text, this final movement employs the most unique American musical invention, the gospel choir. In order to make the dances come alive, this movement also calls upon the colors of a rhythm section. Creating the spirit of an Irish Funeral, the movement is a joyful and revival-like celebration of a dog's life as its spirit lives on forever in the hearts and minds of dog lovers everywhere. Remember Me, remember me! My spirit is wagging a grateful tail. Published by: Subito Music Publishing Release Date: July 9, 2013.

Orchestra - Grade 2

SKU: AP.40410S

Composed by Andrew H. Dabczynski. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Beginning String Orchestra. Form: Rondo. Score. 8 pages. Belwin Music #00-40410S. Published by Belwin Music (AP.40410S).

UPC: 038081449869. English.

And they're off! This quick-sprint rondo challenges students with constantly changing meters, but uses only the simplest rhythms, fingerings, and bowings---all within a D-major framework. By varying and combining simple 4/4, 3/4, and 2/4 meters, the orchestra learns to keep time while preparing for more complex meters. A 7-part rondo form provides the players repetition opportunities to solidify the meter changes and maximize learning. More advanced students can play this piece at the fastest possible tempo to test their ability to play accurately.

Orchestra

SKU: FG.042-08310-9

Composed by Usko Merilainen. Score. Published by Fennica Gehrman (FG.042-08310-9).

ISBN 979-0-042-08310-9.

Merilainen's second orchestral concerto (the first dates from the 1950's) is a musical study of the concept of time. The strings provide an element of stasis, while other orchestral sections are used as active blocks. The extensive percussion section is used to discreetly mark the passing of time and plays on the edge of silence. The work's ending is bound together by a magical F sharp pedal-point in the horns.

Orchestra - Grade 2

SKU: AP.45874S

Composed by Doug Spata. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Light Concert; Ragtime. Score. 8 pages. Duration 1:40. Highland/Etling #00-45874S. Published by Highland/Etling (AP.45874S).

UPC: 038081523781. English.

Here's a fun, jazzy, all-pizzicato selection for early beginners to play at one of their first concerts! Showtime Rag is built around a strong, steady beat. This original by Doug Spata uses only the D and A strings, and half, quarter, and eighth notes with very limited independence to keep everyone together. Each section gets a melody, making it the perfect way to show off those beginning skills. (1:40).

Cello; Double Bass; Orchestra; Piano; Viola; Violin (Orchestra)

SKU: HL.48011549

Complete Set. Composed by Peter Wastall. Boosey & Hawkes Orchestra. Classical, Contemporary. Boosey & Hawkes #M060096082. Published by Boosey & Hawkes (HL.48011549).

UPC: 073999158526.

Sessi on Time is an album of solos that expand to create opportunities for exciting group music-making. Each piece can be played as a solo or as a group piece. The optional ensemble parts extend the harmonic and musical structure of each piece, enabling each performer to play an important part in the group.

Orchestra - Grade 2

SKU: AP.45874

Composed by Doug Spata. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Light Concert; Ragtime. Score and Part(s). 62 pages. Duration 1:40. Highland/Etling #00-45874. Published by Highland/Etling (AP.45874).

UPC: 038081523774. English.

Here's a fun, jazzy, all-pizzicato selection for early beginners to play at one of their first concerts! Built around a strong, steady beat, this original by Doug Spata uses only the D and A strings, and half, quarter, and eighth notes with very limited independence to keep everyone together. Each section gets a melody, making it the perfect way to show off those beginning skills. (1:40).

Orchestra

SKU: HL.48182136

Composed by Olivier Messiaen. Leduc. Classical. Softcover. 226 pages. Alphonse Leduc #AL23077. Published by Alphonse Leduc (HL.48182136).

UPC: 888680835514. 7.25x10.75x0.704 inches.

Completed in 1960, Time-Colour by Olivier Messiaen is a famous orchestral piece composed by this author. This edition, published as a book, features the conductor?s score with all the following instruments: 16 First Violins, 16 Second Violins, 14 Violas, 12 Cellos, 10 Double Basses, 1 Piccolo, 3 Flutes, 3 Oboes, 4 Clarinets, 3 Bassoons, 1 Piccolo Trumpet, 3 C Trumpets, 4 F Horns, 3 Trombones, 1 Tuba, Suspended And Chinese Cymbal, 1 Glockenspiel, 1 Xylophone, 1 Marimba. It is written in seven movements: Introduction, Strophe I, Antistrophe I, Strophe II, Antistrophe II, Epode and Coda; and The Epode features birdsong and is played by 18 of the string instruments. Olivier Messiaen (1908-1992) was a French organist and composer passionate about Ornithology and one of the most important composer of his century. Inspired by Japanese music, he had a very special way of composing and his work can be identified by its complexity, its diatonic aspect, its harmony with limited transposition, its colour and its additive rhythms. He composed many works related to ornithology and birdsong, including the 'Bird Catalogue' in 7 volumes..

Incidental music for a radio production of William Shakespeare\'s play. Composed by Ralph Vaughan Williams (1872-1958). Full score. Promethean Editions #PME16S. Published by Promethean Editions

Orchestra - Grade 2

SKU: AP.35968S

Bass Section Feature. Composed by Todd Parrish. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Blues; Jazz/Fusion; Light Concert; Swing. Score. 8 pages. Duration 2:52. Highland/Etling #00-35968S. Published by Highland/Etling (AP.35968S).

UPC: 038081417233. English.

Let your string bass section swing in this easy-to-play blues piece as they build skills and enjoy the motivation of being in the spotlight. Basses carry the melody much of the time, while also accompanying the melody as it weaves through other sections. All parts stay in first position, while the bass shifts briefly to third position. Educational objectives include playing accidentals, contrasting between staccato and legato, and learning to play in a swing style. (2:52).

Recorded by Frank Sinatra. Edited by Rob DuBoff, Jeffrey Sultanof, and Dylan Canterbury. Arranged by Don Costa. Jazz, Swing. Score and parts. Published by Jazz Lines Publications (JL.JLP-9510).

Orchestra - intermediate

SKU: HL.49002149

Score. Composed by Francesco Manfredini. Edited by Helmut W. May. This edition: Saddle stitching. Sheet music. Concertino (Chamber Orchestra). Classical. Score. Composed 1718. Op. 3/12. 23 pages. Duration 10'. Schott Music #CON94. Published by Schott Music (HL.49002149).

ISBN 9790001022859. UPC: 073999621150. 9.0x12.0x0.097 inches.

It was the Weihnachtskonzert (Christmas concerto) in C major that won special popularity continuing a tradition which was cultivated by Corelli with his pastoral at the end of Op. 6 No. 8 or by Torelli in his Op. 8 No. 6 and reaching to the pastoral in Handel's Messiahs and to the sinfonia in the second cantata of Johann Sebastian Bach's Christmas oratorium. This, finally, originates from the music-making of shepherds - coming from the Abruzzi and from Calabria to Rome at Christmas to play the shawm and the bagpipes in front of the cribs. Hence the popular consecutive thirds and the sustained bass tones characterizing the first Largo, a genuine siciliano in the rocking, typically dotted 12/8 time.

By Franz Joseph Haydn. Arranged by Richard Meyer. For Full Orchestra. Full Orchestra. First Philharmonic. Masterwork. Level: 2 (grade 2). Conductor Score and Parts. 103 pages. Published by Alfred Publishing.

By Franz Joseph Haydn. Arranged by Richard Meyer. For Full Orchestra. Full Orchestra. First Philharmonic. Masterwork. Level: 2 (grade 2). Conductor Score. 24 pages. Published by Alfred Publishing.

Orchestra - Grade 0.5

SKU: AP.46698S

Composed by Victor Lopez. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Very Beginning String Orchestra. Latin; Light Concert. Score. 8 pages. Duration 1:30. Belwin Music #00-46698S. Published by Belwin Music (AP.46698S).

UPC: 038081537184. English.

Intended to introduce young players to Latin music style, this cheerful and energized composition is guaranteed to be a success as you tour the Caribbean. In addition to being solidly scored, the catchy melody and Latin hand percussion will definitely make this piece---full of spice and sun, and originally written by Victor López---a hit at your earliest concert. Whether you are celebrating Cinco de Mayo or looking for a change of pace, you can't go wrong with Fiesta Time! (1:30).

(Concert Overture). By Felix Bartholdy Mendelssohn (1809-1847). Edited by Christopher Hogwood. For Orchestra. Baerenreiter Studienpartituren - Study scores. Study Score; Urtext Edition. Op. 26. Duration 10'