Full Score Full Orchestra; Orchestra (Score) - Grade 4 SKU: HL.4501216 Co...(+)
Full Score Full
Orchestra; Orchestra
(Score) - Grade 4
SKU:
HL.4501216
Composed
by Andrew Lloyd Webber.
Arranged by Calvin
Custer. HL Full
Orchestra. Broadway,
Movies. 44 pages.
Published by Hal Leonard
(HL.4501216).
UPC:
884088365509.
9.0x12.0x0.092
inches.
Performance
time - ca. 11:45 The
phenomenon of this stage
production continues with
the release of the motion
picture that has
introduced Sir Andrew
Lloyd Webber's timeless
music to yet another
audience. Calvin Custer's
medley features six
musical highlights from
both the film and stage
versions: All I Ask of
You, Angel of Music,
Masquerade, The Music of
the Night, The Phantom of
the Opera, and Think of
Me.
Orchestra - Grade 1 SKU: AP.46709S Composed by Andrew H. Dabczynski. Perf...(+)
Orchestra - Grade 1
SKU: AP.46709S
Composed by Andrew H.
Dabczynski. Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Explorer. Light Concert;
Novelty. Score. 12 pages.
Highland/Etling
#00-46709S. Published by
Highland/Etling
(AP.46709S).
UPC:
038081535227.
English.
The
perfect grade 1 piece for
beginning string
students, Bottomless
Pizz. by Andrew H.
Dabczynski requires no
bows and uses only open
strings and the pitches
of a one-octave D scale.
Remarkably simple but
contemporary-sounding
rhythms, harmonies, and
techniques will captivate
students. Everyone will
delight in the humorous
musical quotes and cool
beat as they discover
what lies far down in the
Bottomless Pizz.
Correlated to String
Explorer Book 1, Unit
12.
Orchestra - Grade 1.5 SKU: AP.48071S Featuring Themes from Take Me Out...(+)
Orchestra - Grade 1.5
SKU: AP.48071S
Featuring Themes from
Take Me Out to the Ball
Game and the Ninth
Symphonies of Franz
Shubert, AntonÃn
Dvorák, and Ludwig van
Beethoven. Composed
by Albert Von Tilzer,
Antonin Dvorak, Franz
Shubert, and Ludwig van
Beethoven. Arranged by
Bob Phillips. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles;
Solo Small Ensembles;
String Orchestra. Sound
Innovations for String
Orchestra. Masterwork
Arrangement. Score. 8
pages. Duration 2:30.
Alfred Music #00-48071S.
Published by Alfred Music
(AP.48071S).
UPC:
038081557601.
English.
This title
features Alfred Music's
String Orchestra FLEX
options. That means that
every part in this set is
now transposed into every
other part, so you can
play this title with any
combination of like- or
mixed-string ensemble.
After purchasing this
set, decide what
additional parts you need
to meet the unique needs
of your ensemble, then
download and print them
for free at
alfred.com/supplemental--
-free of charge.
Tongue-in-cheek
and beautiful, Bottom of
the Ninths is the perfect
way to delve into these
masterworks with young
players in a fun context!
All sections remain in
1st position, in the key
of D major, with no high
3's or low 1's as the
melodies are passed
throughout the orchestra.
Easy to play and
showcasing the beauty of
these great composers,
this piece, arranged by
Bob Phillips, would shine
at a festival or contest.
The medley features Take
Me Out to the Ball Game;
the opening theme from
Schubert's Symphony No. 9
which is, of course, at
the beginning of that
work; the famous Going
Home theme from the
middle of Dvorák's
Symphony No. 9; and the
Ode to Joy theme from
Beethoven's Symphony No.
9, which is at the end,
or the bottom, of the
9th. Correlated to Sound
Innovations for String
Orchestra, Book 1, Level
5. (2:30) This title
available in MakeMusic
Cloud.
Orchestra - Grade 1.5 SKU: AP.48071 Featuring Themes from Take Me Out ...(+)
Orchestra - Grade 1.5
SKU: AP.48071
Featuring Themes from
Take Me Out to the Ball
Game and the Ninth
Symphonies of Franz
Shubert, AntonÃn
Dvorák, and Ludwig van
Beethoven. Composed
by Albert Von Tilzer,
Antonin Dvorak, Franz
Shubert, and Ludwig van
Beethoven. Arranged by
Bob Phillips. MakeMusic
Cloud; Performance Music
Ensemble; Single Titles;
Solo Small Ensembles;
String Orchestra. Sound
Innovations for String
Orchestra. Masterwork
Arrangement. Score and
Part(s). 76 pages.
Duration 2:30. Alfred
Music #00-48071.
Published by Alfred Music
(AP.48071).
UPC:
038081557595.
English.
This title
features Alfred Music's
String Orchestra FLEX
options. That means that
every part in this set is
now transposed into every
other part, so you can
play this title with any
combination of like- or
mixed-string ensemble.
After purchasing this
set, decide what
additional parts you need
to meet the unique needs
of your ensemble, then
download and print them
for free at
alfred.com/supplemental--
-free of charge.
Tongue-in-cheek
and beautiful, Bottom of
the Ninths is the perfect
way to delve into these
masterworks with young
players in a fun context!
All sections remain in
1st position, in the key
of D major, with no high
3's or low 1's as the
melodies are passed
throughout the orchestra.
Easy to play and
showcasing the beauty of
these great composers,
this piece, arranged by
Bob Phillips, would shine
at a festival or contest.
The medley features Take
Me Out to the Ball Game;
the opening theme from
Schubert's Symphony No. 9
which is, of course, at
the beginning of that
work; the famous Going
Home theme from the
middle of Dvorák's
Symphony No. 9; and the
Ode to Joy theme from
Beethoven's Symphony No.
9, which is at the end,
or the bottom, of the
9th. Correlated to Sound
Innovations for String
Orchestra, Book 1, Level
5. (2:30) This title is
available in MakeMusic
Cloud.
Orchestra SKU: FG.55011-315-2 Composed by Kalevi Aho. Study score. Fennic...(+)
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 Scor...(+)
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. Durati...(+)
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 SKU: AP.48707 15 Arrangements of Traditional Tunes on the D ...(+)
Orchestra
SKU:
AP.48707
15
Arrangements of
Traditional Tunes on the
D & A Strings, Perfect
for Differentiated
Instruction. Composed
by Becky Bush, Bob
Phillips, and Sarah
Lenhart.
Method/Instruction;
String Orchestra
Method/Supplement. Sound
Innovations for String
Orchestra. Teacher's
score. 64 pages. Alfred
Music #00-48707.
Published by Alfred Music
(AP.48707).
ISBN
9781470643997. UPC:
038081559919.
English.
Sound
Differentiation is a
motivational, time-saving
supplemental resource
that provides
differentiated parts for
15 well-known
tunes---perfect for a
variety of teaching
situations, including odd
or incomplete
instrumentation, or when
working with a mix of
ability levels. The
arrangements in this
collection are ready for
use in an adaptable
format with identical
parts for all
instruments. The featured
parts are tune, bass
line, harmony, and
variation, and each one
can be assigned to your
choice of soloists,
instrument sections, or
difficulty-leveled
groupings of students of
both like-instrumentation
or mixed-instrumentation.
The difficulty of each
piece progresses
throughout the book.
Here are just
some of the ways to
differentiate with Sound
Differentiation: *
Group students into 3
categories based on skill
level and assign
level-appropriate parts.
* Customize each
arrangement by choosing
the order in which
students play each line
of the song. *
Teachers may assign a new
line order using the
blank Teacher Order
column.
Orchestra - Grade 3.5 SKU: AP.49436S Featuring: Batman, A Duty to Figh...(+)
Orchestra - Grade 3.5
SKU: AP.49436S
Featuring: Batman, A
Duty to Fight / to See;
At the Speed of Force;
and The Crew at
Warpower. Composed by
Tom Holkenborg. Arranged
by Patrick Roszell. Full
Orchestra; MakeMusic
Cloud; Performance Music
Ensemble; Single Titles.
Pop Concert Full
Orchestra. Movie. Score.
Alfred Music #00-49436S.
Published by Alfred Music
(AP.49436S).
ISBN
9781470651008. UPC:
038081571911.
English.
From the
blockbuster film Zack
Snyder's Justice League
comes this intense
arrangement of themes
that are both dramatic
and ominous. Featuring
dark sonorities and
driving rhythms, this
work brings all the
thrilling action to life.
This stunning arrangement
by Patrick Roszell
features a reduced number
of wind parts, making it
even more accessible.
(5:30) This title is
available in MakeMusic
Cloud.
Orchestra - Grade 3.5 SKU: AP.49436 Featuring: Batman, A Duty to Fight...(+)
Orchestra - Grade 3.5
SKU: AP.49436
Featuring: Batman, A
Duty to Fight / to See;
At the Speed of Force;
and The Crew at
Warpower. Composed by
Tom Holkenborg. Arranged
by Patrick Roszell. Full
Orchestra; MakeMusic
Cloud; Performance Music
Ensemble; Single Titles.
Pop Concert Full
Orchestra. Movie. Score
and Part(s). Belwin Music
#00-49436. Published by
Belwin Music (AP.49436).
ISBN 9781470650995.
UPC: 038081571904.
English.
From the
blockbuster film Zack
Snyder's Justice League
comes this intense
arrangement of themes
that are both dramatic
and ominous. Featuring
dark sonorities and
driving rhythms, this
work brings all the
thrilling action to life.
This stunning arrangement
by Patrick Roszell
features a reduced number
of wind parts, making it
even more accessible.
(5:30) This title is
available in MakeMusic
Cloud.
Fete with a Prologue and 3 Acts. Composed by Jean- Philippe Rameau (1683-1764)....(+)
Fete with a Prologue and
3
Acts. Composed by Jean-
Philippe Rameau
(1683-1764).
Edited by Julien
Dubruque.
This edition: urtext
edition.
Paperback. Symphonies /
Versions of 1746 and
1745.
Score, anthology. RCT 59.
Baerenreiter Verlag
#BA07563.
Published by Baerenreiter
Verlag
Composed
by Tomaso Giovanni
Albinoni. Edited by
Kneusslin. Set Type: D.
Set of parts. Lucks Music
Library #A7587. Published
by Lucks Music Library
(TM.01011SET).
Ob and Cem soli
in set. Ed. by Kneusslin.
Cem both realized and
figured.
Orchestra SKU: HH.HH003-STR Composed by Alexander Scriabin. Arranged by P...(+)
Orchestra
SKU:
HH.HH003-STR
Composed
by Alexander Scriabin.
Arranged by Per Hartmann.
Orchestral. String set.
Duration 8 minutes.
Edition HH Music
Publishers #HH003-STR.
Published by Edition HH
Music Publishers
(HH.HH003-STR).
Here presented
as a colourful orchestral
suite, these preludes
dating from Scriabin's
European tours of 1894 95
lend themselves
delightfully to the small
orchestra. The original
piano part is published
at the bottom of the
score.
Five Preludes Orchestre SATB, Orchestre [Conducteur] Edition HH
Orchestra SKU: HH.HH003-FSC Composed by Alexander Scriabin. Arranged by P...(+)
Orchestra
SKU:
HH.HH003-FSC
Composed
by Alexander Scriabin.
Arranged by Per Hartmann.
Orchestral. Full score.
Duration 8 minutes.
Edition HH Music
Publishers #HH003-FSC.
Published by Edition HH
Music Publishers
(HH.HH003-FSC).
ISBN
9790708024200.
Here
presented as a colourful
orchestral suite, these
preludes dating from
Scriabin's European tours
of 1894 95 lend
themselves delightfully
to the small orchestra.
The original piano part
is published at the
bottom of the score.
Orchestra SKU: HH.HH003-MIN Composed by Alexander Scriabin. Arranged by P...(+)
Orchestra
SKU:
HH.HH003-MIN
Composed
by Alexander Scriabin.
Arranged by Per Hartmann.
Orchestral. Miniature
score. Duration 8
minutes. Edition HH Music
Publishers #HH003-MIN.
Published by Edition HH
Music Publishers
(HH.HH003-MIN).
ISBN
9790708024194.
Here
presented as a colourful
orchestral suite, these
preludes dating from
Scriabin's European tours
of 1894 95 lend
themselves delightfully
to the small orchestra.
The original piano part
is published at the
bottom of the score.
Orchestra SKU: HH.HH003-IPT Composed by Alexander Scriabin. Arranged by P...(+)
Orchestra
SKU:
HH.HH003-IPT
Composed
by Alexander Scriabin.
Arranged by Per Hartmann.
Orchestral. Set of parts.
Duration 8 minutes.
Edition HH Music
Publishers #HH003-IPT.
Published by Edition HH
Music Publishers
(HH.HH003-IPT).
ISBN
9790708024682.
Here
presented as a colourful
orchestral suite, these
preludes dating from
Scriabin's European tours
of 1894 95 lend
themselves delightfully
to the small orchestra.
The original piano part
is published at the
bottom of the score.
String Orchestra string
orchestra (88555) with
optional 3rd violin/viola
TC (3), piano and
percussion - Grade 1
SKU: KN.8180
Composed by John
Caponegro. Accent String
Orchestra. Score and set
of parts. Duration 1
minute, 40 seconds.
Kendor Music Inc #8180.
Published by Kendor Music
Inc (KN.8180).
UPC:
822795081800.
Score
d in D major, this
winning march for
first-year strings opens
and ends with dramatic
pyramid entrances from
the bottom up -- cellos
and basses first, then
violas, then 2nd Violins,
and finally 1st Violins.
Rhythms are simple,
bowings are clearly
marked, and the optional
percussion part for snare
drum and bass drum
enhances the parade-style
theme. Duration 1:40.